T: The Resistance Fighters Chronicles EP5 to 10
by F.S.N. Stefan
Summary: EP10: Old Data Never Die.  "IDENTIFIED: JOHN CONNOR. MISSION: TERMINATE. TERMINATION OVERRIDE" How can it be in all those reprogrammed units? We'll know it soon. Please read and review it as before.
1. EP5: Carrots and Apples

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TERMINATOR

THE RESISTANCE FIGHTERS CHRONICLES

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EPISODE FIVE

"CARROTS AND APPLES"

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Written by  
>Sirapop Nualnimnoi<p>

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This fan-produced fiction is a screenplay based on the science fiction drama television series developed for the Fox by Josh Friedman, Terminator - The Sarah Connor Chronicles. This is done in the spirit of fan fiction - to have fun and enrich the total fan experience beyond the limitations of the official story vehicle. This fan-made screenplay is being created available for entertainment purposes of the loyal fans of the show. This story follows the characters of John Connor, Sarah Connor, Cameron, Allison Young and more or all characters from TSCC after the events of the episodes "Ghost Whisperer", "A friend in need is a friend indeed", "Twanton" and "New hope coming" (earlier episodes of this fan-made screenplay series)

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><p><strong>TEASER<strong>

WE OPEN ON:

EXT. CLASSROOM – DAY

SUPERIMPOSE: "PALMDALE - 2064"  
>"52 years after Judgement Day"<p>

It's a group of international twelve-years-old kids, serious and well dressed. They sit on their heels under a sparsely elegant tent, small wooden desks with embedded screens in front of them. The tent is on a lawn surrounded by lush foliage. People walk about and vehicles glide quietly overhead. A utopian vista.

The teacher, T-SONYA, a female T-ZM4 (Terminator – Zeira Corp Model 4), she has black curly long hair, 5'6", of about 24, and chocolate brown eyes.

ON A WALL SCREEN backward T-Sonya, is the image of the earth, white pops blossom on the surface. This is social studies class.

SONYA  
>Now we are safe from the war. Skynet<br>was defeated by our mighty heroes.  
>We have many endos and cyborgs work<br>for us under the rules of ZEITECT.  
>(smiles and walks around)<br>What model do you think it's the  
>best model now?<p>

THAI GIRL  
>(raise her hand and answer)<br>I think that must be T-ZM5, developed  
>by Zeira Corp under the rules of ZEITECT.<p>

SONYA  
>(smiles) Okay. You girl is sharp.<br>And how's it different from older?

THAI GIRL  
>A solid endoskeleton covered with liquid<br>metal "mimetic polyalloy". The solid endo  
>is made from tungsten carbide. Older models<br>have just cybernetic organisms-living  
>tissue over a hyperalloy endoskeleton.<p>

SONYA  
>(in Thai)<br>"Good. Very good for a human."

AMERICAN BOY  
>Teacher, I don't know why we have to<br>develop and create machines more like  
>humans. Why do we give them an ability<br>for reproduction?

Sonya stops and looks to that boy.

SONYA  
>Good question. It's because now machines<br>look like humans. Some humans need those  
>machines more than sexual intercourse.<br>They need to have child with who they  
>love even machine. You know that as well.<br>It started from Cameron and John Connor.  
>(beat)Cameron was the goddess for love in<br>machines. She learned what love is.  
>Like humans. However she got married with<br>John Connor before the last battle.

CHINESE GIRL  
>I think we humans have many problems<br>in our mind. Are we humans really  
>cleverer than machines? (in Chinese)<br>"Is that right?"

SONYA  
>Yes. I think so. I think you will get<br>more information about this if you  
>register in my life science class.<p>

Sonya continues walking around as her eyes roam over all students.

SONYA  
>(smiles)<br>Anymore questions?

AMERICAN BOY  
>Are there psychics living around us, teacher?<p>

SONYA  
>Yes, there are.<p>

AMERICAN BOY  
>Can they read our mind when they find us?<br>Will they explain our secret to the others?

SONYA  
>I don't think so. Psychics can read your<br>mind but under the rules of ZEITECT, they  
>can't tell your secrets to your friends or<br>your family or your world mates and we  
>have no criminals because of them and<br>we can live our lives happily today  
>because of we have the psychics.<p>

STEFAN JR.  
>Yes. Because we have the psychics. I think<br>you are right about that, teacher.

STEFAN JR., Stefan's grandchild, is a intense little Thai boy, writing with one hand and typing with the other. (Typing consists of holding a long wooden stylus and tapping either end down different columns of Thai characters on his desktop screen.) He is a good two years younger than the other kids.

STEFAN JR. (cont'd)  
>We know the psychics in our history<br>as well. He was new General of the  
>Asian forces in 2028. He led his<br>men with his wife and joined...

SONYA  
>...the resistance fighters of the<br>John Connor. I know that as well.  
>General of the Asian forces,<br>Warapop Pichitchai and his wife,  
>Lieutenant General Allison Pichitchai.<br>I think it will be good if I get  
>some information from your homework.<br>(smiles) Yes.  
>And that's your next homework.<br>I need all of you to do the report  
>about the resistance fighters<br>chronicles. As your wish, you can  
>show me next week. One by one.<br>Do you understand?

All kids just smile to their teacher. RING!

SONYA  
>Okay. See you next week.<p>

Sonya exits the class and walks after many people outside. Some of kids exit but Stefan Jr. and his friend still be there.

MAGGIE MOON, is a dark, intense little girl, walks from her seat to meet with Stefan Jr.

MAGGIE MOON  
>You are good, Stefan.<p>

STEFAN JR.  
>Hey! You need to go to my<br>house as well. It locates  
>in NE from Lake Palmdale.<p>

MAGGIE MOON  
>I think so. I need to meet<br>your grandparents very much.  
>Maybe I will get some more<br>data for the report.

STEFAN JR.  
>That's good. Let's go.<p>

They exit the area as all monitors and screens are automatically turned off.

INT. BEDROOM - HOUSE – DAY

This is the same bedroom from F03EP04 but the technologies are upgraded. It's the dim light, curtain outshines the sun from outside. We find human sexual intercourse, inefficient and messy.

NAKED MAN, is on top of his naked wife. As he slides in her one last time, they both cry out of their climax.

LATER, husband and wife lie naked on their bed. The man is SITTIPONG PICHITCHAI(apparent age 36, resemblance to Stefan and Allison), and his wife, KITTY PICHITCHAI (apparent age 36, resemblance to Derek Reese and Jesse Flores).

KITTY  
>Sittipong Pichitchai, you are always good for<br>our activities on the bed. How long have I got  
>married with you?<p>

SITTIPONG  
>Oh Kitty. A long time. Twelve years. I remember.<p>

RING! From the bell outside the house. Sittipong turns to his wife and flashes a smile.

SITTIPONG  
>Our son comes.<p>

INT. HALL – DAY

GRANDMA ALLISON PICHITCHAI (56-ish), opens the door meet with her grandchild and his friend, Stefan and Maggie Moon.

GRANDMA ALLISON  
>(smiles)<br>Hi! Sweetie. Who's this?

STEFAN JR.  
>Good evening, grandma Allison.<br>This is my friend, Maggie Moon.  
>She's from the school. She's<br>here for her report about the  
>chronicles of the resistance<br>fighters.

GRANDMA ALLISON  
>Okay. Come in please. (smiles) I'll go to take<br>some drinks for you and your friends.

They come in and wait. Allison turns to the counter neaby, pockets the phone, then grabs her book(Tripitaka) and heads toward the door. She turns in the doorway back to the room and looks at the picture of her husband.

ANGLE ON THE PICTURE OF STEFAN FROM ALLISON'S P.O.V.

This picture was taken when Stefan was just a Major. Beside him is Allison Young (17). In b.g., the Lake Palmdale.

FREEZE: STEFAN'S PICTURE

SUPERIMPOSE: "SEPTEMBER 2, 2027"

THE PICTURE IS LOWERED DOWN AND GENTLY PUTTED ON THE TABLE BY

Allison Pichitchai. She looks better than herself in the previous episodes. She smiles to the picture so proudly. In b.g., now it's...

STEFAN'S ROOM – MORNING

ALLISON  
>Thank you for everything, Stefan.<p>

Allison turns to the bed and sees her uniform on it.

EXT. SAN JOAQUIN RIVERS – MORNING

As the sun rises, sunlight shrines on the river and reveals the river of the hell. CAMERA comes to rest on a burnt and rusted tricycle... next to the tiny skull of its owner.

A metal foot crushes the skull like china.

TILT UP, revealing a T-900 endoskeleton holding a plasma rifle.

We can see ENDOS DELTA FORCES and many Skynet's weapons consist of Ground HKs (tank-like robot gun-platforms), flying Aerial HKs, and four -legged gun-pods called Centurions. All of them head to Suisun Bay about ten miles away.

CLOSE ON A T-900'S ENDO FACE as its eyes glow RED.

INT. THE BUNK – MORNING

THE NAVAL OFFICER, LIEUTENANT NICK CORBIN (apparent age 19, resemblance to Trevor and Kacy Corbin), bunks in a one-time closet about the same size John's Holding Room is.

There are two small bunks and one trunk. Only one bunk has bedding on it. The trunk is painted black with panther eyes.

Nick loads a clip and chambers a round in her well-worn Glock (or other semiautomatic pistol).

KNOCK! KNOCK! KNOCK!

Nick turns to us and looks to...

...the HEAVY DOOR.

NICK  
>Come in.<p>

A young naval officer, SUMMER GOODNOW (S02EP18), gets in. She looks excited.

NICK  
>What's the deal?<p>

GOODNOW  
>Skynet forces are coming here.<p>

Nick suddenly stands up. His eyes widen.

NICK  
>Let's go. Drive them away.<p>

They exit.

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><p><strong>ACT 1<strong>

**(Welcome to the port of Los Angeles)**

INT. OUTSIDE DAKARA SYSTEM – MORNING

The same spot like in F03EP01.

SECURITY GUARD (24, Thai, 5'8") stands seriously nearby the door. On his uniform has the brand of Psytect Corp (Three dots in green background with a picture inside each dot. Center, top dot has a yellow star, left dot has a picture of CPU, and right dot has a picture of test tube with green water inside).

LOW ANGLE AT THE LIFT as it opens, and we see two feet of a person who wears formal boots.

BACK TO THE GUARD

He turns to see the man.

CUT TO BEHIND THE GUARD, revealing who that man is, TOK-725 LAMPAGE MOORE, smiles to the guard and hands a paper to him.

LAMPAGE  
>I wanna meet with General Pichitchai<br>or Ms. Pichitchai or both of them.

The guard quickly glances a paper and hands back to Lampage.

SECURITY GUARD  
>Oh! You are Lampage Gage. General Pichitchai<br>and Ms. Pichitchai are waiting for you.  
>You will see them at the meeting room next<br>from the main office. Have a nice day sir!

LAMPAGE  
>Thank you for explaining.<p>

Security opens a door and lets Lampage enter the office.

INT. DAKARA MEETING ROOM – MORNING

PROF. DR. MANIDUANG PICHITCHAI and GENERAL PICHITCHAI, sit at the seats opposite the door. They both look serious.

Lampage, just enters the room.

Maniduang reaches her hand point to a chair opposite them nearby the door.

MANIDUANG  
>Sit there, metal.<p>

Lampage smiles so friendly to them.

LAMPAGE  
>Don't be afraid. I'm not here to kill you.<p>

Lampage sits on his seat.

PICHITCHAI  
>I know that. So what's your business today?<p>

LAMPAGE  
>I'm here to send you something in my car.<p>

MANIDUANG  
>What's it?<p>

LAMPAGE  
>It's for my masters.<p>

MANIDUANG  
>Who are your masters?<p>

LAMPAGE  
>Emma Akagi and the psychic family.<p>

EXT. PORT OF LOS ANGELES – DAY

AERIAL SHOT

Flying in from over the ocean looking back at the Ports of L.A. and Long Beach, both with many columns of rising black smoke.

LAMPAGE MOORE(V.O.)  
>When I was just a boy, I wanted to be the<br>high-ranking member of U.S. Navy. I love  
>seas, oceans, and ships.<p>

DISSOLVE TO:

EXT. BANGKOK – DAY

AERIAL SHOT

SUPERIMPOSE: "BANGKOK 2027"

Flying in from over looking through Bangkok city ruins drown out, like this area is in an ocean.

LAMPAGE MOORE (V.O.)  
>In the past, humans believed our earth<br>were flat. That belief has gone since  
>we started globetrot.<p>

THE SAME SPOT BUT WE DRIVE DOWN UNDERWATER.

SUPERIMPOSE: "ASIAN RESISTANCE BASE – BANGKOK SUNKEN DOME"

We see the large glass dome cover the GRAND PALACE and the area 4 square kilometers around the PRAMANE GROUND (some of you call this place 'Royal Plaza', some call 'Sanam Luang'). We see the port look like the large gate access into the dome. We are like a sub getting closer the dome.

LAMPAGE MOORE (V.O.) (cont'd)  
>We've found the truth of the earth, the truth that<br>our earth is round. And we've found many wonderful  
>land. Asia, Australia, America and a lot more.<p>

EXT. GRAND PALACE – DAY

Like in the past, the grand palace of Thailand is still beautiful. It's at noon but we would feel like it's evening. The sunlight can come through the water and glass dome as the kind of dim light.

LAMPAGE MOORE (V.O.)  
>We found them because we learned navigation<br>and we've never discourage the far sight of  
>the large ocean. We've never stepped back.<p>

INT. BIOLOGICAL LABORATORY – DAY

ON THE LARGE CAPSULE, we see Stefan's clone body is twenty five years old now. The water has changed into blue. He looks peaceful. His naked body has no cuts and no bruises. His muscles look too small like a man who has never exercised.

LAMPAGE MOORE (V.O.)  
>These all are the miracles of navigation.<p>

THE DOOR

The door opens automatically. GENERAL PICHITCHAI and EMMA AKAGI enter the lab, and the door closes automatically behind them.

They both step toward the capsule. Pichitchai smiles agreeably.

PICHITCHAI  
>This will be okay.<p>

EMMA  
>I just decelerated his growing rate to be normal<br>last week. I think this is not enough, General.

PICHITCHAI  
>What do you want more?<p>

EMMA  
>Human-being is still fragile.<p>

PICHITCHAI  
>What are you thinking to do?<p>

EMMA  
>Change him to be a cyborg.<p>

PICHITCHAI  
>Like Skynet did with Jack Van Meter?<p>

They turn to face each other.

EMMA  
>Yes. It's like that.<p>

PICHITCHAI  
>But he didn't want that.<p>

EMMA  
>This is only one way to make sure he won't...<p>

PICHITCHAI  
>No. I love my son. If he don't want that,<br>I can't do that to him. Do you understand?

EMMA  
>I think yes. I think I know what you're<br>worrying about. If we change him, he will  
>be hated by some humans.<p>

PICHICHAI  
>Yes.<p>

They both turn to look at Stefan's body again.

DISSOLVE TO:

INT. PERRY'S HQ – DAY

LIEUTENANT COLONEL JOHN CONNOR, CAPTAIN CAMERON PHILLIPS and CAPTAIN ALLISON PICHITCHAI enter the HQ and meet with General Perry who always sits on his seat like in F03EP02. They all even Cameron wear their fully decorated U.S. Army uniforms.

PERRY  
>How are those robots, John?<p>

JOHN  
>They all are ready. We can send<br>them to the Rear Admiral.

PERRY  
>And you trio have to secure them until<br>they reach to the Port of Los Angeles.

JOHN  
>Yes, sir.<p>

PERRY  
>Allison.<p>

Allison jerks and gets attentiveness at General Perry.

ALLISON  
>Sir.<p>

PERRY  
>I got a message from General Pichitchai.<br>He needs you there. I need you to travel  
>on Jimmy Carter or Sea Shadow to Thailand.<p>

ALLISON  
>And?<p>

PERRY  
>The message said that if you don't<br>want to go there, I won't have to  
>force you. It's your free will.<br>(beat)  
>Will you go?<p>

Allison pauses as STEFAN'S SPIRIT, same as the last time we saw him in the battle of MGR., appears behind her. His cold right hand touches on her left shoulder. She suddenly turns to him.

STEFAN  
>(smiles)<br>Follow your mind, Alise.

Allison turns to Perry.

ALLISON  
>I will.<p>

PERRY  
>That's the answer I want to hear.<p>

INT. PORT OFFICE ANTEROOM – DAY

The large one-time reception area is bare except for a few chairs and a reception desk. REAR ADMIRAL LAMPAGE MOORE (F03EP02) stands facing his inferiors. Rising from one of the chairs is CMDR. JESSE FLORES (S02EP06).

MOORE  
>Commander Jesse Flores.<p>

JESSE  
>It's hard for us to work with<br>machines, Rear Admiral.

MOORE  
>I know that, commander, but we can't<br>drive the subs and the ships.

JESSE  
>We can ask our alliance for that,<br>can't we?

MOORE  
>No. Machines can drive the boats so<br>easily and can solve a problem faster  
>than humans. And they will always work<br>for us. No disagreements.

Jesse just shrugs and sits down.

MOORE  
>Anyone still has a problem?<p>

No response.

MOORE  
>(smiles)<br>Okay. End meeting.

Moore exits the office before his inferiors slowly stand and exit the office.

EXT. SMALL HOUSE – MORNING

The house is under the Canyon. This house will become the same house in F03EP02. There is a black Chevy Cororado parking in front of the house.

INT. SMALL HOUSE – LIVING ROOM - MORNING

The house isn't stylish (the only new thing here is a Flat Screen T.V.), but it's comfortable, lived-in. Sofas and light bulbs are at the same location as in F03EP02 but they look new.

We find SEMINA CRUEL, SARAH CONNOR, and DR. FELICIA BURNETT MD. in paint-spattered work gears. They are painting the wall around the living room.

MATT MURCH and JAMES ELLISON, enter the living room through door. All women stop their works and turn to find them. Sarah and Semina step to them as Felicia turns back to the wall and continues her paint.

SARAH  
>Where is Lampage?<p>

ELLISON  
>We don't know. We've thought<br>he's come here with you.

Sarah looks more serious.

SARAH  
>That tin man keeps secrets<br>from us like the tin miss.  
>(beat)<br>That can become a problem.

INT. DAKARA SERVER ROOM – DAY

We see the new chair at the center of the room and T-MONICA'S deactivated body sitting on it. She looks lifeless. General Pichitchai and Dr. Maniduang stand nearby her, looking at...

...Lampage sits nearby the mainframe, working with a wireless keyboard on his lap. He hits a couple of keys then looks to the large monitor that is always turned on.

LAMPAGE  
>It's complete.<p>

INSERT MONITOR

Dialog with a process bar and a message "Software updating...", appears on the center of the system graphic desktop, it works so fast and completes in a few seconds. As it completes,... BEEP!

BACK TO SCENE

Lampage turns back, looks to General and his sister then nods.

Maniduang, turns to looks at Monica as her brother still keeps watch Lampage with cautions.

MANIDUANG  
>(calls to the room)<br>Emma Akagi. Can you understand me?

Then she looks back at the body.

CLOSE ON EMMA/MONICA'S FACE as her closed eyes have a blue glow beneath the eyelids before opening. The blue glow disappears almost immediately after opening.

Both Pichitchai and Maniduang are excited.

Emma, looks up and sees them and gives them a small smile.

EMMA  
>(Emma's techno voice)<br>This body looks...

She looks down to her hands on her knees, controls them up then slowly grasps and unfolds. Her test can pass so easily. She does, grasp and unfold, frequently. Making sure she can control this body like her own organs. She then looks up to Pichitchai and Maniduang. Lampage slowly walks in and stops in front of her.

Lampage, gives her a friendly smile.

Emma, smiles back and...

EMMA  
>Thank you for the body, Mr. Gage.<p>

LAMPAGE  
>You should have it to protect yourself.<p>

Emma then stands up.

EXT. PORT OF LOS ANGELES – DAY

The banks of San Pedro Harbor are lined with a few dozen resistance fighters, including John, Cameron, Kyle, Derek, Jason, Zykes and Allison.

CLOSE ON THEM

We see seven cyborgs stand backward John.

Major Nevlin Glau, Major Nelson Dekker, QUEEG (S02EP18), is dressed in a Navy service khaki uniform with the naval rank of captain, CAPTAIN PHOTON (a reprogrammed female T-888, curly long red hair, like 19, 5'7"), CAPTAIN CHARLEY DIXON, CAPTAIN MICHELLE DIXON and meet the cyborg resistance's newest model, T-ZM1 (Terminator - Zeira Corp Model 1), she's T-VICTORIA (S02EP06, Weaver's assistance), wears a common casual clothes.

ANGLE

Pulling up to the dock is SSN-23, the submarine USS JIMMY CARTER. Four SAILORS stand on top of the 6-meter tall conning tower, an imposing sail with a fairing in front at the base. Six more SAILORS walk the top deck in preparation for docking.

EXT. PORT OF LOS ANGELES - LATER

They all meet with REAR ADMIRAL LAMPAGE MOORE, and his aide, CMDR. JESSE FLORES at the dock. They both wear their Navy service khaki uniforms with their own naval ranks.

MOORE  
>I'm Rear Admiral Lampage Moore.<br>Welcome to the port of Los Angeles.

EXT. SUISUN BAY – DAY

AERIAL SHOT

A shallow tidal estuary at 38.07°N 122.07°W in northern California, USA. It lies at the confluence of the Sacramento and San Joaquin Rivers, forming the entrance to the Sacramento-San Joaquin River Delta, an inverted river delta. Suisun Marsh, the tidal marsh land to the north, is the largest marsh in California.

We see the battle between the navy and the machines.

The NAVY FORCES are in the middle of one hell of a firefight. Plasma rounds whiz by so thick you could read by them.

We see three battle-harden naval officers, NICK CORBIN, SUMMER GOODNOW and LIEUTENANT MCHAM DIETZE (S02EP18), lead their men protect the bay and the port.

Nick, and Dietze, and a SQUAD of six, run for their lives from a gang of ten ENDOS. Nick reacts to something he sees ahead.

NICK  
>Drop.<p>

All the humans immediately dive for the ground.

At that instant, five DELTA FORCE ENDOS rise up and start firing at the gang of ten. It's a fierce exchange with plasma rounds firing as quickly as the guns can recharge.

Gang of ten endos soon become gang of seven endos. The Delta Force Endos drop down to four, and then three.

Now it's four gang endos against two Delta Endos.

NICK, GOODNOW AND DIETZE

keep their heads down. They want nothing of this.

And then it's QUIET.

Everyone stays on the ground for a while as more distant

battles are still raging in b.g.

DIETZE  
>What the hell those machines want?<p>

NICK  
>Maybe our IX-529, Sea Shadow.<br>(a beat)  
>Oh god! Delta force's come.<p>

DIETZE  
>Delta...<p>

NICK  
>Move out!<p>

Dietze looks at Nick with shock and disbelief as the Squad gets up and moves forward, leaving Nick, Goodnow and Dietze.

NICK (cont'd)  
>It's the only way to win.<p>

One of the gang of ten torsos rights itself enough to face Nick, Goodnow and Dietze.

T-900'S H.U.D.

Target locks immediately on Nick, matching in in-memory photo. "LIEUTENANT NICK CORBIN. TERMINATE IMMEDIATELY"

BACK TO SCENE

The T-900 defies its considerable damage to bring its gun to bear on Nick.

**END OF ACT 1**

* * *

><p><strong>ACT 2<strong>

**(USS Jimmy Carter)**

EXT. BSD CONVENTION CENTER – DAY

SUPERIMPOSE: "BSD CONVENTION CENTER - 2027"

We see **B**angkok **S**unken **D**ome Convention Center. This place used to be Pata Pinglao and this place is very close the large port for subs. There are many Asian guards around this place.

INT. BSD CONVENTION CENTER – MEETING ROOM – DAY

The meeting room has a large table pushed to the wall and many chairs, most stacked on the table.

GENERAL PICHITCHAI and EMMA AKAGI stand nearby the wall backward meet with the leader of each Asian country. There are just 18 people here, 4 leaders with three guards for each leader. The leader of Chinese resistance fighters is COLONEL WANG PICHAO (46, black hair, 5'8", label on his chest shows his name). The leader of Korean resistance fighters is COLONEL KIM YOUNGCHUN (45, black hair ,5'8"). The leader of Japanese resistance fighters is COLONEL HIKARU CHINTAI(46, black hair, 5'6"). And the leader of Vietnamese resistance fighters is COLONEL NGUYEN TUAN(42, black hair, 5'8").

PICHITCHAI  
>(in Chinese)<br>"Good to see everyone of you here."

NGUYEN  
>"Now we can destroy the ASW bots factory<br>in the gulf of Thailand so easily. What  
>are you waiting for?"<p>

PICHITCHAI  
>"We can't break them down without my son<br>and our most people. Indian resistance  
>fighters don't want to join us."<p>

KIM  
>"But we can enforce them with our military units."<p>

PICHITCHAI  
>"I don't think so. War between humans will<br>destroy us all and those machines won't  
>have to fight us because we fight with<br>each other. It means we destroy ourselves."

HIKARU  
>"How about your son now."<p>

PICHITCHAI  
>"Body is good but the mind."<p>

EMMA  
>"We've found his brain sent most of<br>his mind power away from us to the  
>land of US. Someone are going to<br>bring him back."

EXT. PORT OF LOS ANGELES – DAY

John and his friends meet with Moore and Jesse. There are new three officers behind Jesse. They are COMMAND MASTER CHIEF PETTY OFFICER HAYES (S02EP18), and other two are common officers.

MOORE  
>Hey! Who's in charge?<p>

JOHN  
>I am.<p>

MOORE  
>Who are you, boy?<p>

JOHN  
>I'm Lieutenant Colonel John Connor.<p>

Moore smiles so proud. They then shake hands.

MOORE  
>Okay. Like I asked General Perry a month ago.<br>I need 4 cyborgs work for my naval forces.  
>Humans aren't as good at submarine warfare<br>as metal is. Where are they now?

JOHN  
>They all are here, sir.<p>

John turns back and gives the cyborgs backward a you-all-move-here nods. Those cyborgs step closer John and meet with the rear admiral.

JOHN  
>The negro is Queeg. He's a reprogrammed cyborg.<p>

Queeg steps out to Moore and then they shake hands.

QUEEG  
>Captain Queeg meet with the rear admiral, sir.<p>

Jesse steps toward him as her eyes look to Derek then to John. She has a question.

JESSE  
>Apologize.<p>

Everyone turns to Jesse.

JESSE (cont'd)  
>Do they know how to be captains?<p>

QUEEG  
>We have the file. We all have the<br>same file. Document from Skynet.

JESSE  
>What?<p>

JOHN  
>When I reprogrammed the machines, I would get<br>some useful data from their chips. (beat)  
>Did you know about the battle of McGuire<br>Gunnery Range, Commander?

JESSE  
>I did.<p>

JOHN  
>I got some data of the factory from Nevlin's chip.<p>

Jesse smirks.

JESSE  
>Okay!<p>

Jesse steps back and stands beside her leader. Queeg walks to an area beside Jesse.

JOHN  
>Captain Photon...<p>

Photon steps forwards.

JOHN (cont'd)  
>...is a reprogrammed cyborg too.<p>

MOORE  
>Good to see you, Captain.<p>

PHOTON  
>Good to see you too, Rear Admiral.<p>

Moore quickly shakes hands with Photon.

MOORE  
>I think you will be happy with my<br>DDG-96, USS Bainbridge, the frigate.

PHOTON  
>(smiles)<br>Frigate is not bad.

Photon walks and stops beside Queeg. John turns back to Michelle and Charley. His eyes especially glances at Charley. They both step toward the Rear Admiral.

JOHN  
>These are Charley and Michelle Dixon.<br>They are templates of kills. Charley  
>and Michelle Dixon died in the past.<p>

MOORE  
>Are you gonna say that 'these robots<br>have never worked for Skynet'?

JOHN  
>I am.<p>

MOORE  
>That's interesting.<p>

JOHN  
>We can't reprogram more machines<br>because Skynet has redesigned all  
>its troops. Their chips will burn<br>up if we pull them out. That's why  
>we have to build our own cyborgs.<p>

A naval officer runs to them from the north. Everyone turns to him. He looks tired.

OFFICER  
>(pants)<br>Rear Admiral, our base...  
>in the...north...is..under<br>attack by machines. We need  
>your help, sir.<p>

MOORE  
>Thank you.<br>(to John)  
>Can you help us?<p>

CUT TO: UNDERWATER

We are at 38.07°N 122.07°W under the water and we see many ASW BOTS(like hydrobots(T4) but they are bigger than hydrobots and they have missile launchers on their heads, not metal fangs) are about ten meters away from us.

CUT TO BLACK:

FADE IN:

INT. SARAH'S NEW HOUSE – DAY

Sarah, Ellison, and Felicia sit on the sofa. Their eyes stare at the door.

THE DOOR OPEN, and Lampage enters the living room.

SARAH  
>If you come back slower than this,<br>I will grab my rifle up and aim  
>it to your head. Just one shot.<br>At the chip.

Lampage turns and faces them.

LAMPAGE  
>You know what Sarah Connor.<br>You are the reason why John  
>chose his Cameron, not you.<p>

Sarah immediately stands up with some anger. She looks in his eyes and slowly relaxes.

SARAH  
>Okay. Next time you want to get out,<br>you have to tell us. Do you understand?

LAMPAGE  
>I'm sorry.<p>

SARAH  
>Never mind.<p>

As Sarah turns back, her eyes twitch, slowly flicker out, and then close. Sarah becomes unconscious and falls but not on the floor, in time she's falling, Lampage moves to hold her faster than everyone. Ellison and Felicia just stand up.

ELLISON  
>What's happening to her?<p>

Lampage holds Sarah's unconscious body into his arms. He looks like a weak man but when he holds her, it shows that he's not human. Lampage gently puts her on the sofa.

In b.g., Ellison and Felicia seem worried about her. Lampage measures Sarah's other vital signs.

Lampage looks around Sarah's body and scans her...

LAMPAGE'S H.U.D.

Every sensor Lampage has, is tuned only to Sarah, to her flushed pallor, to her heartbeat. It's too fast, far too fast for a simple fever. He gropes after the familiar support of statistics, scales and rates, but the numbers cascades past before he can grasp them. It's all wrong, temperature too high, heart rate too elevated, pushing every scale into the red.

BACK TO SCENE

LAMPAGE  
>It's wrong. Her temperature is too high.<br>Her hearth rate is too elevated.

BURNETT  
>Can I check her myself?<p>

LAMPAGE  
>Yes.<p>

Lampage stands up, leaves the way and lets Felicia get closer Sarah. Felicia gently grabs her hand up and checks her pulse.

FELICIA, looks up as her face shows anxiety.

BURNETT  
>I need my bag, Mr. Ellison.<p>

MANY MINUTES LATER, Felicia with her bag beside her, it's been open, Felicia straps a vinyl cuff around Sarah's uninjured arm.

Ellison and Lampage stand backward. They look worried about her.

ELLISON  
>Is it cancer?<p>

BURNETT  
>I don't think so.<p>

Felicia closes her fingers around Sarah's wrist to check her pulse again.

BURNETT  
>Oh. I just recall what this mean.<br>It's not cancer. I've to make sure  
>what I think is true. We need to<br>wake her up. I got a question.

ELLISON  
>Do that quickly.<p>

Felicia gently slaps on Sarah's cheek and calls for her.

BURNETT  
>Wake up, Sarah. Sarah. Wake up.<p>

ON SARAH'S FACE, she's so peaceful.

BURNETT (O.S.)  
>Sarah Connor, wake up.<p>

INT. WHITE ROOM - DAYTIME UNCERTAIN

SARAH with a glock in one of her hands, looks around the large white room. It is brightly lit and that makes an assessment of how large it is difficult. A few meters from his spot, there is no one here.

SARAH  
>Am I dead? Where am I?<p>

JOHN HENRY (O.S.)  
>You are in my island, Ms. Connor.<p>

Sarah turns around as...

AT THE DOOR BACKWARD HER, John Henry enters the room. He still has a cord connect to the back of his head.

JOHN HENRY  
>I'm here, Ms. Connor.<p>

Sarah suddenly turns and aims her glock to him.

JOHN HENRY  
>Please relax, Ms. Connor.<br>I'm not here to kill you.  
>I won't hurt you if you<br>don't hurt my wife.

Sarah lowers her gun down. Sarah looks at John Henry with a hint of wary curiosity, intrigues but cautious. Movement behind John Henry catches Sarah's attention. It's EMMA/MONICA AKAGI. Sarah can't keep her gun down, she aims it up to Emma.

SARAH  
>John Henry. Is that your wife?<p>

JOHN HENRY  
>Yes.<p>

Sarah thinks about it. She takes a while before she lowers it again and keeps it back behind her.

SARAH  
>Where is here? Why is this room white?<p>

JOHN HENRY  
>There's no room! You're on an island.<br>It's my island. How did you get here?

SARAH  
>I don't know. I just got here somehow. I see<br>white walls, white floor and white ceiling.

They are quiet.

SARAH (cont'd)  
>Where is John?<p>

JOHN HENRY  
>He's somewhere in my island.<p>

SARAH  
>Where's he?<p>

EMMA  
>Sarah Connor.<p>

In a flash, Emma moves toward Sarah.

SARAH  
>You are Emma.<p>

In a flash, Emma moves back to her old way.

EMMA  
>Yes. I am.<p>

JOHN HENRY  
>John is waiting for you.<p>

EMMA  
>Follow us. Come with us.<br>Join us for the future.

They turn to leave but their heads turn back to her and their eyes GLOW BLUE. Interesting.

DISSOLVE TO:

INT. LIVING ROOM – DAY

ON SARAH'S FACE, she slowly opens her eyes and sees Felicia sitting on the sofa next to her.

SARAH'S POV.

Felicia smiles so warmly to us.

BACK TO SCENE

SARAH  
>What happened?<p>

BURNETT  
>You became unconscious. I wake you up.<p>

Sarah turns to see both Ellison and Lampage then turns back to Felicia.

SARAH  
>Is it cancer?<p>

BURNETT  
>Can you still use your left arm?<p>

Sarah braces herself and extends her arm from its default position, tucks up against her ribs where it has some support.

SARAH  
>I feel heavy and wooden.<p>

The irregular splotches and fiery red lines spreading in an angry tangle from the old scar under her bicep has migrated to her chest. She tries to flex her fingers. She then gasp.

Sarah blinks back tears and Felicia helps her to settle her arm back against her body.

SARAH  
>If it's not cancer...<p>

BURNETT  
>You have an infection in the long bone<br>of your upper arm. Judging by your scar,  
>the initial crack or break happened<br>at least seven months ago.

SARAH  
>It healed...It healed over.<p>

BURNETT  
>But when the bone fused, it trapped<br>bacteria inside, isolating it from  
>the rest of your body and concentrating<br>the infection. Have you experienced any  
>significant weight loss, persistent<br>exhaustion, headaches, paranoia or  
>difficulty concentrating? Anything<br>else you have never told me?

SARAH  
>Shouldn't it have hurt more?<p>

LAMPAGE  
>Pain can be controlled.<p>

Sarah flashes a glance at Lampage then quickly turns back to Felicia.

BURNETT  
>Your immune system has been burning up all of<br>your resources trying to fight back, but the  
>infection has eaten away at the bone from<br>the inside. Even a minor blow could have  
>cracked it again and set the infection<br>loose in your bloodstream.

Sarah sighs.

SARAH  
>We were in a car accident...<br>(pauses) Sepsis. I saw it in  
>the jungle when I was training<br>John. With bullet wounds...

BURNETT  
>Sepsis. You need to be in a hospital.<p>

SARAH  
>They could fix it?<p>

BURNETT  
>If they removed the damaged bone and tissue, you<br>might have a chance. At this point, they would  
>probably recommend amputating the entire arm,<br>and then you'd need a transfusion, antibiotics-

SARAH  
>And if I don't go?<p>

BURNETT  
>Then you'll die. Not today, and maybe not<br>tomorrow, but sooner rather then later.  
>I can slow it down with antibiotics, IV's,<br>even surgery, but I can't stop it, not here.

She glances around the room, taking in the bland furnishings and drab walls.

BURNETT  
>You'll die here.<p>

LAMPAGE  
>I think we have another choice.<p>

They all turn to Lampage.

LAMPAGE (cont'd)  
>My masters can help you. Let them help you.<br>(beat)Remember Sarah. We are on the same side.

BURNETT  
>Sarah?<p>

Sarah thinks about it.

ELLISON  
>It's all your decision, Sarah.<p>

LAMPAGE  
>Sarah?<p>

SARAH  
>Okay. We'll join them.<p>

Felicia turns to Sarah and gives her a warm smile.

BURNETT  
>You need to get some sleep.<p>

SARAH  
>Thank you.<br>(turns to Lampage and smiles  
>to him like when she smiled<br>to Cameron) Thanks.

Sarah smiles to them one last time then slowly closes her eyes and sleeps on the sofa.

EXT. USS JIMMY CARTER – NEAR SUISUN BAY - DAY

Speed: 20kts, Depth: 400ft, Seawolf class Submarine in waters of Pacific. 6 km nearby Suisun bay. Day: 0. Submarine slowly pass POV from Bow to stern.

INT. USS JIMMY CARTER – BRIDGE - DAY

Jesse, Moore, Allison, Hayes, XO CHRISTOPHER GARVIN (S02EP18), Queeg and Photon are on the bridge, Queeg is on controls, Jesse stands beside Moore who sits on the Rear Admiral seat in the middle, XO Christopher Garvin is next to him, Garvin is on Sonar. Garvin puts his headset. Hayes is on his controls for torpedo stock. Photon stands nearby Hayes. Allison stands opposite side of Jesse.

GARVIN  
>Oh! man(puts off headset) Oh! man.<br>We got twenty ASW bots waiting for us.

JESSE  
>Prepare.<p>

Jesse moves to her screen looking to the map. Kraken now is nearby the navy base. We are far from it about 6 km. There are twenty ASW bots.

MOORE  
>Chief of the boat, status of<br>our torpedo stock?

Hayes turns to his station. Checking it. So fast. Hayes turns back to the Rear Admiral.

HAYES  
>We have not enough torpedoes to fight<br>with them. Fourteen, maybe fifteen.  
>We can't take them all just...<p>

QUEEG  
>Chief of the boat, Ready tube<br>one. Hold for my order.

Everyone turns to Queeg.

MOORE  
>Listen to him, officers.<br>He's gonna be your captain.

QUEEG  
>If I say fire, you fire.<p>

EXT. SUISUN BAY – DAY

The T-900 defies its considerable damage to bring its gun to bear on Nick.

Dietze is faster, he fires it at the head. Nick relaxes and turns to his friend.

DIETZE  
>Let's go. Protect the barge.<br>Fall back, team.

PLASMA ROUNDS explode barely a meter away from them. They grab their rifle, and grenade from their ammo belts, and then scramble away, stopping only briefly to fire off a couple of rounds.

AERIAL SHOT

A lot of the functioning port burns. Dense black smoke fills the air. Streaks of Plasma fire are concentrated in a few pockets, but it isn't widespread.

CAMERA MOVES TO THE SOUTH AND WE SEE John's squad is running to join the battle.

**END OF ACT 2**

* * *

><p><strong>ACT 3<strong>

**(Alliances from everywhere)**

EXT. SUISUN BAY – DAY

It's just a day in Hell. Plasma bolts coming from HKs, OGRES, and Endos fill the air. The return fire isn't as thick.

Thermite fires spot the ground and rocket out of three HKs and one OGRE.

The resistance hides behind cover. Randomly popping out to take a few shots before quickly ducking down again. One unit of five SOLDIERS, behind a stack of crates, is about to move out when two OGREs launch a fusillade on that position. It's a plasma-fire slaughter. In seconds, all that's left is fire and charred bodies.

John and Cameron are away from the naval squad about 20 meters. Dietze, Goodnow and Nick run to join them.

CLOSE ON THEM

They are talking together with fighting with machines that get close them.

NICK  
>Thank you for your people.<br>Where is the rear admiral?

JOHN  
>He's going here. Strike by his<br>sub and the reprogrammed cyborgs.

CAMERON  
>This is one hell of the dogfight.<p>

GOODNOW  
>Hey! Get down.<p>

They all get down as a HK-VTOL flies through them. Goodnow raises up and fires at it bringing it down on an ORGE. They both explode in a chain. Good shot.

Goodnow gets down as they start to talk.

GOODNOW  
>How do we break them all down?<p>

CAMERON  
>How many endos?<p>

Goodnow gets up, looks around and gets down again so quickly.

GOODNOW  
>About sixty or more. Two Ogres.<br>Thirty HK-VTOLs around.

CAMERON  
>We need to get closer the Ogres.<p>

DIETZE  
>We can't. There are many endos<br>around them. We can't.

CAMERON  
>I don't think so.<p>

EXT. BATTLEFIELD – SUISUN BAY - DAY

The humans force fighting with endos as they are being cut down or blasted. The rest are retreating into the area.

We can see TWO OGRES are blasting human troops. Ogres overruns a human firing position. Soldiers are cut down as they run. Fiery explosions light the ranks of advancing machines.

PLASMA-FIRE and EXPLOSIONS around the field in front of the port and depot of the Suisun Bay.

EXT. SUISUN BAY – DAY

JOHN AND FRIENDS

They all still keep their heads down.

JOHN  
>How can we break them all down?<p>

CAMERON  
>Follow me.<p>

Cameron still keeps her head down as she slowly walks off to the nearby safety spot. The rest follows her.

INT. USS JIMMY CARTER – BRIDGE – DAY

QUEEG  
>Are our torpedoes ready?<p>

Hayes turns to the controls then turns back.

HAYES  
>Torpedoes are ready.<p>

QUEEG  
>Mr. Garvin, active sonar<br>please.

GARVIN  
>Okay. Aye.<p>

Garvin puts his headset.

GARVIN  
>Okay. We get our target now.<br>One kilometer away.

QUEEG  
>Chief of the boat, just one<br>shot in front of us.

HAYES  
>Torpedo ready, but-<p>

QUEEG  
>Let's get it's done.<p>

EXT. UNDERWATER - DAY

We are at 38.07°N 122.07°W under the water and USS JIMMY CARTER drives closer but still stay away from ASW bots.

TORPEDO fires out from Carter and attacks on three ASW bots in only one shot.

ASW BOTS, the rest of them turns back and locks the target at our Carter.

But another shot comes from backward, a torpedo from an unknown launcher rushes to a ASW bot and explode underwater.

CUT TO CARTER'S BRIDGE

Garvin, puts his headset down and turns to his commander and the rear admiral. He looks surprise with that.

GARVIN  
>We get help from unknown sources.<br>They need to talk with us.

Monitor shows the picture of COLONEL HIKARU CHINTAI in the controls of another sub. Lampage Moore immediately turns to look.

We intercut between the two subs:

MOORE  
>Greet, Colonel Hikaru Chintai of Japan.<p>

HIKARU  
>We're sorry about that. I'm here to take<br>the emissary to Thailand with us.

MOORE  
>We are being on the battle.<p>

HIKARU  
>We can break them all down. Lower<br>your sub down. We'll clear them.

Queeg knows that by now he suddenly controls the sub down.

EXT. UNDERWATER – DAY

As Carter drives down more deeply, those Japanese subs show up and fire their torpedoes to those ASW BOTS. Explode under sea.

The battle underwater starts by hope to humans' victory.

EXT. BATTLEFIELD – SUISUN BAY – DAY

There is the sound of EXPLOSIONS, distant, and PLASMA BLAST.

The screen WHITES OUT with a PLASMA BLAST, very close. As the debris clatters down, JOHN, CAMERON AND THEIR FRIENDS snap up into FRAME, EXTREME F.G. John leads them get closer the OGRES, quickly but carefully. In B.G., the human troops are passing endos, HKs, and Orges away from John's team. They're fight and are being cut down so easily. Derek and Kyle fight with them as their leader but they can survive from every plasma blast.

John looks over his shoulder at Cameron. They still keep their heads down from those machines' sights. Cameron turns to Dietze.

CAMERON  
>Close enough.<p>

Dietze nods then leaps up and straight-arms a satchel-charge into the way of the first OGRE.

THE OGRE, then is RIPPED APART. It lurches to a stop, burning. As half of those endos response and start head to Dietze.

DIETZE, as he says:

DIETZE  
>Oh! Damn!<p>

CAMERON in a flash, shows up and puts him down with non-human speed and strength, at the same time that she throws a grenade at the endos.

As they fall back, we can hear the sound of an EXPLOSION. Cameron cuts Dietze off her way. Dietze bounces on his friends' arms.

CAMERON  
>What the hell were you thinking?<br>Why don't you quickly drop down here?

DIETZE  
>You are just a girl. Why...?<p>

JOHN  
>Move out.<p>

As they turn,...

...A T-900 with a plasma rifle, appears in front of them, Nick is so fast, he fires it at the head.

JOHN  
>(to Nick)<br>Thank you.

CAMERON  
>There's still another Ogre.<p>

JOHN  
>I'll do it. Protect everyone back.<p>

CAMERON  
>But you can't...<p>

JOHN  
>I can.<p>

PLASMA ROUNDS explode barely a meter away from John. John quickly grabs his satchel-charge and runs out. He runs to another debris nearby.

CAMERON  
>No.<p>

Cameron turns back and then flashes to look at John. Cameron can't leave John alone. She turns to Dietze.

CAMERON  
>You lead your people back.<br>I'll go to protect him.

Cameron turns around and then quickly leaps to John.

NICK  
>Damn it. (to his friends)<br>Let's go.

Nick and Dietze turn and leave. The rest follows.

JOHN AND CAMERON

hide behind the debris together.

JOHN  
>Why? Cameron?<p>

CAMERON  
>I need to protect you. This is stupid, John,<br>but this is what you programmed me for.

John turns to Cameron as...

...a T-900 endo with a plasma rifle walks in and aims the gun to John but Cameron...quickly turns with non-human speed and launches herself at it, slamming it viciously into another debris. Cameron throws it in the air as a plasma shot runs to attack it at the head by another T-900 endo, haphazardly. Cameron jerks and then drops down as that endo fires other shots to her. It's missed.

Cameron shows up with a plasma rifle, and fires to it. Cameron then drops her head down, looks back to John's location. He's disappeared.

Cameron turns around to find him.

CAMERON'S H.U.D.

Changes into infrared mode, SCANS AND PANS, searching for John. She takes a while before she can find him, he's going to the debris just ten meters away from the OGRES. Most machines don't notice him and still fire at their targets. By the view, we can see six endos are nearby his hiding place.

BACK TO SCENE

Cameron suddenly shows up on her hiding place.

INTERCUT AMONG JOHN, CAMERON, ENDOS AND THE OGRE.

Cameron stands as...

CAMERON  
>(shout)<br>I'm here. Metal.

That catches all endos' attention. They all turn to look at Cameron.

The Ogre aims its guns to her.

John, turns back and sees Cameron standing there.

JOHN  
>No. Cameron.<p>

ENDOS and OGRE left their guns up and fires at her.

Cameron drops down and those shots miss her.

John, relaxes and starts running more closely Orges. John leaps up and straight-arms a satchel-charge into the Ogre. One tread rolls over the explosive. Guns swivel.

OGRE'S H.U.D.

With broad-spectrum EM cameras, the view slowly pans around the scene that has some civilization debris, but is otherwise relatively clean.

CROSSHAIRS zero in on a hotspot between two large pieces of debris. Getting recognition of John Connor, Comparing with John Connor in the picture from the depot 37. "TERMINATE"

BACK TO JOHN

He drops down behind the debris as the PLASMA-FIRE blasts nearby him. John suddenly runs back along the debris.

ENDOS aim their guns up, off human troops' sight, and fire after John. PLASMA-FIRES IMPACT near John's feet and legs, sending up big puffs of dirt. A BIG PLASMA SHOT (let's assume that it's from the ogre) blasts nearby John as he bounces off from its power.

CUT TO CAMERON, who still hides in her hiding place. She aims two plasma rifles up by both of her hands and aim them in two directions, left and right. She's ready to fire both of them at the same time. Two endos appear in those directions as she fires both of her guns to both of them.

PLASMA-FIRES attack on their heads a split second later, ENDOS turn just before they fall on the ground.

CUT TO JOHN, he's lay on the ground like he's dead but in fact, he's not dead, he's just become unconscious.

THE OGRE, turns left and...

OGRE'S H.U.D.

CROSSHAIRS ZOOM AND zero in John who still lies unconscious on the ground about twenty meters away.

BACK TO SCENE

AT JOHN'S LOCATION, John's still unconscious.

SLOW MO:

CAMERON (O.S.)  
>(shout)<br>John! No!

OGRE, fires a big plasma shot.

JOHN, as in b.g., a plasma shot runs to him as another MOVEMENT with non-human speed, gets in the scene from the left, takes John's unconscious body, and moves out, simultaneously and so quickly, just before the shot attack there in a split second.

TRACK ON that movement until it stops behind the debris, revealing T-VICTORIA holding John's unconscious body by her arms.

A few seconds later, Cameron runs into frame and joins them there.

CAMERON  
>Thank you, Victoria.<p>

Victoria puts John down nearby her. Cameron suddenly gets closer John and kneels down beside him. Cameron puts her guns down beside her.

Victoria, kneels on one knee, and looks down to John.

VICTORIA  
>He's just unconscious.<p>

They look up to face each other.

CAMERON  
>(smiles)<br>Thank you so much.

VICTORIA  
>Never mind.<p>

Victoria and Cameron quickly grab the guns up and aim them toward their side then fire at the same time that two endos appear and take those shots. They fall.

VICTORIA  
>Oh! no.<p>

CAMERON  
>(turns to Victoria)<br>What?

VICTORIA  
>Look there.<p>

Victoria points to the north. It's really damn.

VICTORIA'S H.U.D.

Victoria's display is blue framed and full-color.

ZOOM IN and we can see SKYNET RESERVE FORCE from the north. They are away from our heroes about three or four kilometers.

BACK TO SCENE

CAMERON  
>Damn! We can't break them<br>all down definitely.

CUT TO:

EXT. BATTLEFIELD – DAY

The battlefield now is clear from machines. Human troops look tired. Some of them have blood on their bodies.

DIETZE AND HIS TEAM, looking to the north. They have no hope now. They let their guns fall down like they are going to surrender.

DIETZE  
>Oh my god. Why hast thou forsaken us?<p>

As our camera turns to the south but still keep on them, we can see something's wrong on the sky from the south. Something's coming. We know it's not a storm.

GOODNOW  
>We are going to lose.<p>

VOICE (O.S.)  
>Hey! Look there. The south.<p>

They all turn to the south.

ANGLE ON THE SKY

The movements behind the cloud in the sky, appear, revealing, the air force from Palmdale. HUMMINGBIRDS, F-16 FIGHTERS AND MORE (if you can imagine about Australian air force and American air force join the battle). We see the air craft ,in the middle of the cluster, leads them here.

INT. AIR CRAFT – BRIDGE - DAY

GENERAL PERRY, MAJOR GENERAL SANCTUM EDWORD AND Chief Warrant Officer WILLIAM SUNDER, stand in the bridge looking through the window in front. LIM CHIN AND AIRMAN LINUS CANDY are on controls.

CHIN  
>Dad, our captains find our targets<br>in the north nearby Suisun Bay.  
>They are on comms now.<p>

EDWORD  
>(into com)<br>Lock and fire on my command.

VOICES  
>(from comm)<br>Roger.

PERRY  
>It's time to send those machines<br>to the hell.

EXT. FIELD – DAY

AERIAL SHOT

We're flying low and go through the soldiers on the ground who cheer as they are going to win.

BACK TO SCENE

The soldiers CHEER and become happy as they see about forty air fighters flying through them to the north.

ANGLE

The air force FIRES toward Skynet force in the north tagging a few HK TANKS and AERIAL HKs, whom have slowed down and starts to attack back to those HUMMINGBIRDS and FIGHTERS.

ENODS firing up to those air force, fire and miss them, as the F-16 fighters shoot their missiles to those ENDOS on ground.

AN HK TANK, aims its gun to one of those FIGHTERS then fires in the direction where the fighter are going. An EXPLOSION of PLASMAFIRE as the aerial HKs strafe the F-16, blasting it out of the sky.

We follow the fiery pieces of shrapnel as they rain onto the ENDOS and some HK TANKS.

Another fighter locks and fires to those AERIAL HKs but a plasma-fire from the ground break it down onto ground in a split second later, before the fiery pieces of shrapnel fall and explode on the HK TANK and endos.

A COUPLE OF AIR SQUADRONS with plasma guns add-on, alight and enfilade them.

SLOW MO:

PAN OVER AFTER A PLASMA SHOT as it rushes and attacks a T-900 endo at the chest plate.

A LARGE EXPLOSION takes one of the air squadron.

NORMAL;

VOICES (V.O.)  
>What the hell was that?<p>

INT. AIR CRAFT – BRIDGE – DAY

They look surprise with that.

CHIN  
>(on comm)<br>Aim the endos only their heads.  
>Repeat. Only their heads.<p>

VOICES  
>(from comm)<br>Roger. On their heads. Copy.

EXT. FIELD – DAY

Our camera looks through Dietze's team to the battle in the north. Dietze turns to us and talks to his men.

DIETZE  
>Let's go. Help them from ground.<br>Telling metal we aren't weak.

GOODNOW  
>(as she and the people raise<br>their guns up with morale)  
>Let's go.<p>

NICK  
>Go.<p>

The team runs out to the battle as they fire their plasma rifle to the endos from the north. They always aim to the heads.

L.S. The battle continues, human troops on ground fighting with endos as the air force breaking HK TANKS, AERIAL HKS AND OGRES down, teamwork.

CUT TO JOHN, CAMERON, AND VICTORIA

John's head lies on Cameron's lap as he's still unconscious.

Victoria keeps watch. Cameron tries to wake him up.

CAMERON  
>(awaking)<br>John! John! Open your eyes.  
>John! We're winning. John!<p>

JOHN'S POV.

His eyes slowly open to see Cameron who smiles to him. Feeling like the angel is forward his sight. We still can hear the sounds of many EXPLOSIONS from this point.

CAMERON  
>John. Wake up.<p>

John sits up and looks to battle...

BACK TO SCENE

...then smiles hopefully. As we DOLLY OUT, we can hear Lampage Moore's voice over:

LAMPAGE MOORE (V.O.)  
>In every navigation, always<br>have hope. We can go through  
>storm...<p>

EXT. BATTLE – DAY

L.S. We see the battle that is nearly end.

Humans will win. We're sure about that. PLASMA-FIRES and EXPLOSIONS on machine troops.

LAMPAGE MOORE (V.O.) (cont'd)  
>...big wave, sharks, octopuses,<br>and a lot more problems.

The endos all are being cut down so fast.

LAMPAGE MOORE (V.O.) (cont'd)  
>We have never fallen so easily.<p>

ANOTHER EXPLOSION on them, all OGRES, HKS and endos are being destroyed like a group of tussock moths in bonfire.

DISSOLVE TO:

EXT. HARBOR – DAY

AERIAL SHOT

Flying in from over the ocean looking back at the harbor of Suisun bay.

Many Asian subs moor nearby the port. We can see USS JIMMY CARTER at the dock closely the harbor.

**END OF ACT 3**

* * *

><p><strong>ACT 4<strong>

**(Hasta luego, Allison)**

EXT. HARBOR – DAY

TILT DOWN, seeing General Perry shaking hands with COLONEL HIKARU CHINTAI. John, Dietze, Allison, Jesse, Derek, Kyle, Cameron, and more resistance fighters stand backward Perry. Hikaru speaks English repetitiously but not much.

HIKARU  
>Nice to meet you, General Perry.<p>

PERRY  
>Nice to meet you too.<p>

HIKARU  
>We are here because General Pichitchai,<br>our leader, need to send some forces to  
>bring the stealth ship and the emissary<br>back to our base.

PERRY  
>I understand. We can protect the stealth ship.<br>And I think you and your people need to relax  
>here for a day before you move out.<p>

HIKARU  
>Oh! Yes. I think so. Where are the place<br>for my people?

PERRY  
>Everywhere in here.<p>

HIKARU  
>Thank you, General.<p>

ANGLE ON THE CRATE

Behind it is a man of about 20, blond hair, 5'8". He hides and stares hard to those humans.

C.U. The man, as his eyes flash electric RED. HE'S A TERMINATOR.

DISSOLVE TO:

INT. JESSE'S BUNK – DAY

A small room, basically a one-time storage closet, contains a heavy door, a bucket, one light bulb, and a built-in bathroom.

JESSE is in the bathroom. Dries her face. As the lock of the door is unlocked by someone.

LOW SHOT AT THE DOOR, BOLTS SLIDING precede the door opening, flooding the room with comparably bright light. A silhouetted man steps inside and closes the door.

JESSE (O.S.)  
>Hey! Derek. Please put off your boots<br>and put them down in front of the door.

TILT UP, revealing DEREK REESE is dressed in a vest and a BDU pants. He raises his foot up and puts off his boot. He does this to another one too. He then puts it down in front of the door and one of his hands goes to the bolt and locks the door.

Jesse, gets out from the bathroom and smiles to him.

JESSE  
>Hi. Funny Derek. It's been a long<br>time. I thought I missed you.

Derek, smiles back.

DEREK  
>Everything's changed, Jes.<p>

JESSE  
>You looks better.<p>

DEREK  
>I think so.<p>

JESSE  
>Yes. I mean really good.<p>

DEREK  
>What do you want?<p>

Jesse and Derek step closer each other. Derek pulls her into his passionate kiss before he breaks the kiss and gently pushes her on her bed.

Derek jumps on top of Jesse. They both breathe harder and faster.

JESSE  
>It'll be good.<p>

Jesse lifts up a little and kisses him at the cheek then smiles. He gently flashes a kiss on her lips.

DEREK  
>Yes. It'll be good.<p>

Derek smiles and then gives her control of the kiss. Their eyes close as one of his hand slides up to her left breast, gently caresses it. Another hand picks through her undies and doing something under it what we haven't seen.

JESSE  
>(moaning)<br>Oh! Derek, fix it.

Derek's hands tugs at her t-shirt and pulls it out of the waistband of her jean.

He moves them up along his sides and ribs, lifting the tee in the process. She lifts her arms to allow him to remove the t-shirt. He pulls it up and to her hands and leaves her to do the rest of the work while she goes to work on his belt. He tosses his vest and leans forward to capture her lips for a moment, sucking at her lower one before nibbling his way down her neck and chest to find her nipple. He runs his tongue around the hard nub and then groans against it as he draws it into his mouth. They both sit up and strip their clothes off so quickly before he gets closer her and kisses her and pulls her on the bed again.

JESSE  
>(moaning)<br>We are naked. Do it.

Derek slides his hands from her waist and over the lush curve of her hips onto the firm globes of her ass. He tests that firmness with flexing fingers, spreading her cheeks as he fondles them.

He grasps his dick and guides its head through her folds until he finds her entrance to take away the temptation to stick it elsewhere. Jesse rocks back and his dickhead wedges into the tight ring of entrance, the muscles stretching and at the same time resisting. She looks at him.

JESSE  
>(moaning)<br>Fuck me! Derek!

Derek lowers himself on top of her. He hovers above her, his hands pressing into the bed as he supports his weight before thrusting forward. She cries out aroused.

Derek hisses as slick, moist heat and delicious velvet pressure surrounds him and draws a wonderful trail of friction along his length. Jesse undulates slowly against him as he presses firmly against her, completely buries inside her molten, pulsing core. The smooth silky skin of the insides of her thigh brushes against his hips as she wraps her legs lightly around him. He draws back and then thrusts forward again, exhaling sharply as he does, the shock wave of his collision with her making her breasts quiver and expelling her breath in an audible puff and soft moan.

He does it again and again and again, keeping his strokes steady and powerful, his breathing measures and even. He processes the wonderful jolt of pleasure that accompanied each thrust and withdrawal, allows it to wash through him, but not overwhelm his control.

He watches her every reaction; the way her breathing changed, the way her eyes either narrows or widens; when she bites her lip or licks them her back arches or the way her fingers occasionally clutches at the covers under her. Sweat lightly beads her flushed skin, her nipples just brushing his chest as she draws in a breath before dropping away when she exhales.

He closes his eyes for a moment and takes a deeper breath before he straightens up.

Derek reaches behind him and captures her calves, the muscles shifting under his fingers. He unlocks her ankles and draws her legs forward and up to drape them over his shoulder. He leans forward again, the bed creaking as he rests his weight on her, bending her knees toward her chest, his face directly over hers. Her eyes are wide, but widens even a bit further as he drives down into her at a new angle. He captures and sucks at her full lower lip before tilting his head to kiss her deeply, hungrily. Their lips slide sensuously together as their tongues fences and then tangles. Her eyes finally flutters close, hiding her unwavering stare and making the illusion complete. Their bodies meet with a wet slap again and again, accompanies by the soft squeak of the bed springs, and when his lips moves from hers to the column of her neck, their soft groans, moans sighs and gasps.

His eyes are closed now.

Derek's lungs burn in his chest as he sucks in air to fuel his straining muscles while his heart hammers at his ribs. Sweat trickles down his back in tickling rivulets, his arms, thighs and calves trembles with strain as the energy in his loins roils and compresses in on itself.

Lightning strikes of delight arches out to play havoc across his nerves as he pants and groans. His balls aches and throbs with the build and pent up tension, skipping back and forth over the line between pleasure and pain. He manages to deliver one more powerful thrust before it all became too much and his hips humps and grinds against her as his spine becomes a taut bow and he erupts inside her with a growl that graduates into a rumbling roar. Her channels squeezes and ripples around him, milking his seed from him as he expands against the tight grip to expel his seed into her.

Jesse's back arches off the bed, mashing her even tighter against him. He can have sworn he hears her say his name in a strained whimper before she lets out a stifled, stuttered cry. Electric ecstasy courses through him, making his muscles twitch as they tenses and relaxes in quick successive surges. Energy zips and snakes through his system, making his skin tingle, every part of him alive and powerful as he empties himself into her.

His climax runs its course. He can hardly stand. Her legs drop from his shoulders, spread to either side of him as he collapses limply on top of her. It takes him a moment to find the coherent ability to draw breath and he finds joy in his relaxed satiation at the simple pleasure of cool air filling his lungs. Her nipples presses into his chest, surrounds by the softer pillows of her breasts that are flattened by his weight. Her scent, mixes with sex and sweat fills his nostrils as he breathes it off her skin. He catches his breath and with a groan rolls off her, pulling his semi-erect cock out of her at the same time. He lies next to her, his shoulder presses to hers with barely enough room for them both on the single bed.

DEREK  
>How does it feel like?<p>

JESSE  
>(smiles)<br>It's so fun. We'll do this again.

Derek chuckles at his own absurdity, but worms his hand under her neck until he can reach her far shoulder and then shifting closer to the middle of the bed, pulls her toward him.

She finally grasps his intent and shifts onto her side. He pulls her closer so that she is snug against his side, her head resting on his shoulder, her hair tickling him when she shifts and her arm drapes across his midriff. He shifts her leg across and between his, his cock twitching as it brushes against her skin. His arm ends up down the length of her back and he slides his hand up across the small of her back to rest it on the curve of her hip in a light embrace.

DEREK  
>Let's get some sleep.<p>

He takes her hand and places it over his heart and looking down he sees an actual frown on her brow.

He draws in a heavy breath watching her hand rise with his chest. His eyelids grow heavy. He reaches over and turns off the lamp, plunging the room into darkness.

FADE IN:

EXT. DOCK – MORNING

The stealth ship, Sea Shadow, is ready to travel. Allison in her uniform, is beside Colonel Hikaru Chintai who is dressed in well – worn BDUs, and two Japanese, are facing Cameron, Perry, John, Lampage Moore, Chin, and Reese brothers. Perry is shaking hand with Hikaru and friendly smiles at him as Allison is crying. She looks to Cameron.

ALLISON  
>I will miss you, sis.<br>Can I hug you before  
>I go?<p>

CAMERON  
>Yes. You can.<p>

Allison runs to Cameron then gives her a sisterly hug. Cameron hugs back, a while before she gently pushes her out and wipes her tears by Cameron's left hand.

CAMERON  
>I will miss you too.<br>Allison. You and him.

ALLISON  
>I think Stefan would feel good<br>if he saw this.

Hikaru steps to Allison.

HIKARU  
>We have to go.<p>

ALLISON  
>(to Hikaru)<br>Okay.

Allison waves away her friends as in b.g., Colonel Hikaru and his men go to the ship.

ALLISON  
>See you later.<p>

Allison then turns to leave but...

CAMERON  
>Hasta luego, Alise.<p>

Allison suddenly turns back, flashes a smile.

ALLISON  
>Hasta luego, Cam.<p>

Allison then turns and leave them to the ship.

FADE TO:

A SERIES OF SHOTS

a) Sarah, asleep in her bedroom.

b) Jesse and Derek, passionate kissing in Jesse's bunk as they slowly striping their clothes.

c) Felicia, reading a book in the living room while T-Lampage keeping watch through the window.

d) Sea Shadow disappears in the ocean.

e) Allison sitting alone in the bunk on the ship.

Stefan's spirit appears and sits beside her. She then turns to him and smiles so warmly.

ALLISON  
>How are you today, sweetie?<p>

STEFAN  
>I'm well but you look lonesome.<p>

ALLISON  
>(smiles again)<br>It will be find.

CROSSFADE TO:

INT. HALLWAY – MORNING

The common hallway and GENERAL PERRY AND REAR ADMIRAL LAMPAGE MOORE walk along the hallway together. Behind them are Linus, John, and Cameron slowly following them. Linus walks follow the same path as Perry. Cameron and John both are with their plasma rifle.

CUT TO THE OPPOSITE SIDE OF THE HALLWAY

SLOW MO:

THE SAME TERMINATOR walks in the hallway by left side. On his hand, is a plasma rifle.

INTERCUT BETWEEN THEM AND A TERMINATOR

Cameron just realizes something's wrong with the man.

LAMPAGE MOORE (V.O.)  
>And in the ocean, we have to be careful all<br>the time. Everything's possible.

CAMERON  
>Metal.<p>

Terminator, aims his rifle toward Perry.

Moore lunges to push Perry out of the range. Cameron pulls Perry backward so quickly and FIRES.

Terminator, fires a split-second later, just before he suffers

skull splat.

A plasma shot attacks Moore on his ribs under the arm and goes through to kill Linus backward.

Terminator, falls lifeless on the ground.

NORMAL;

Moore has a big ol' burn hole on his ribs under the arm. Perry rushes to turn Moore face-up. Moore's face is white; his eyes are wide open. Breathing comes in quick gasps.

PERRY  
>Lampage.<p>

MOORE  
>Take care of my navy.<p>

PERRY  
>Of course I will. They are my people too.<p>

MOORE  
>Thank you.<p>

And Moore's gasping stops. Perry closes Moore's eyes.

PERRY  
>He's the best naval officer.<p>

They all look down at Moore. They all forget Linus.

DOLLY OUT AND DISSOLVE TO:

INT. CAFE – NIGHT

Alex and Xander are having their dinner. Alex looks to have had a lot of alcohol. Xander drinks club soda.

ALEX  
>You know what. Xan. We can come<br>through many problems ourselves.  
>We didn't need that bitch to<br>command us at all.

XANDER  
>Dad, I think you are too drunk.<p>

ALEX  
>No. No. No. I don't think so.<br>I hate her very much. She may  
>think we are just her guards<br>in her chess match with Kaliba.

XANDER  
>Dad, we need to go home.<p>

ANGLE ON FRONT DOOR as George walks in. He pushes past the cashier. A LARGE BOUNCER puts the arm on him.

T-GEORGE removes his hand easily, crushing it.

The bouncer staggers back in pain as George moves into the crowd. He crosses the dance floor, scanning. Pushing people aside like a bulldozer, leaving a wake of outrage.

ALEX AND XANDER;

ALEX  
>Not now. You know what<br>we are not guards. In fact,  
>we are king and knight.<p>

GEORGE (O.S.)  
>You are Alex and Xander Akagi?<p>

Xander turns left and sees GEORGE MCCARTY stand nearby their table. Alex slowly turns to him and smiles.

ALEX POV.

Everything's blur.

He doesn't see George but he sees his assistance, MINAMOTO (S02EP10).

BACK TO SCENE

ALEX  
>Hey. Minamoto. You've come.<p>

Alex hiccoughs then belches so loud.

XANDER  
>(to Alex)<br>Hey! Dad. That's not Mr. Minamoto.  
>(to George)<br>I'm sorry for him. I think he's  
>too drunk.<p>

GEORGE  
>(smiles)<br>Never mind. Are you Akagi?

XANDER  
>Yes. We are. Why?<p>

SLOW MO:

GEORGE  
>(smiles)<br>Thank you for the answer.

As Xander turns back to his father, George draws the .45 smoothly from inside his jacket...cocks the slide.

NORMAL;

He fires.

LOW ANGLE ON T-GEORGE, lowering the barrel. He methodically fires four more rounds into the bodies OUT OF FRAME below.

SEVERAL ANGLES as patrons of the bar run, scream or dive for cover, depending upon their level of intelligence.

T-George, emotionless, walks off.

The people immediately grab their phones up and start call for the police.

INT. BIOLOGICAL LABORATORY – DAY

SUPERIMPOSE: "ASIAN RESISTANCE BASE 2027"

ON THE LARGE CAPSULE, we see Stefan's clone body is still twenty five years old. The water is blue. He looks peaceful. His muscles look better but they are still weak.

ZOOM OUT A LITTLE and we see General Pichitchai looking at him.

PICHITCHAI  
>Wait for a while my son.<br>You will be better soon.

Pichichai slowly smiles.

FADE OUT.

SUPERIMPOSE: "To be continued..."

**END OF ACT 4**

**THE END**


	2. EP6: Strongest Power

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TERMINATOR

THE RESISTANCE FIGHTERS CHRONICLES

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EPISODE SIX

"STRONGEST POWER"

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Written by  
>Sirapop Nualnimnoi<p>

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.

.

This fan-produced fiction is a screenplay based on the science fiction drama television series developed for the Fox by Josh Friedman, Terminator - The Sarah Connor Chronicles. This is done in the spirit of fan fiction - to have fun and enrich the total fan experience beyond the limitations of the official story vehicle. This fan-made screenplay is being created available for entertainment purposes of the loyal fans of the show. This story follows the characters of John Connor, Sarah Connor, Cameron, Allison Young and more or all characters from TSCC after the events of the episodes "Carrots and Apples", "Ghost Whisperer", "A friend in need is a friend indeed", "Twanton" and "New hope coming" (earlier episodes of this fan-made screenplay series)

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* * *

><p><strong>TEASER<strong>

WE OPEN ON:

INT. SARAH'S ROOM – MORNING

SARAH'S POV.

Everything's blur as we see Dr. Felicia has just injected something into Sarah's vein at her left arm.

SARAH  
>(weakening down)<br>What have you...done?

Her eyes close and then we see nothing.

BURNETT (O.S.)  
>It will be okay, Sarah.<p>

Her eyes have closed but we still hear her breath. We can hear her heart. Its rate is down and becomes normal and then...

Kyle Reese's voice, it's like it echoes in her mind, her brain:

KYLE (V.O.)  
>It's better that way.<p>

SARAH (V.O.)  
>Oh, Kyle.<p>

KYLE (V.O.)  
>John Connor gave me a picture of you once.<br>I didn't know why at the time. You were  
>young, like you are now.<p>

FLASHBACK TO:

INSERT SCENE LIKE IN T1;

INT. MOTEL ROOM - NIGHT

ANGLE ON TABLE

The bombs are neatly ranked, finished. A nylon satchel lies nearby. The mess is cleaned up.

KYLE (O.S.) (cont'd)  
>I always wondered what you were<br>thinking in that moment.

WIDE SHOT

KYLE REESE (26) sits on the bed and behind him is SARAH CONNOR (19), caressing her hands on his shoulders and back, tracing the lines of his scars with her fingertips.

He closes his eyes, reaches toward her. His fingertips trace the contour of her nose, chin, cheeks.

KYLE (cont'd)  
>I memorized every line, every curve...<p>

He opens his eyes, looking right at hers.

KYLE (cont'd)  
>Sarah, I came across time for you.<br>I love you. I always have.

Sarah is quietly overwhelmed. Kyle looks away.

KYLE (cont'd)  
>I'm sorry. I shouldn't have said...<p>

SARAH  
>Kyle...<p>

She leans forward and kisses him. His face is frozen. A mask. She continues, tenderly.

He begins to respond.

The dam breaks and he holds her in a tight, trembling embrace, clinging to her like life itself.

Kyle picks her up and carries her to the bed.

She kisses his neck and chest, tracing his scars with her lips.

He unbuttons her blouse very slowly. Sarah guides his powerful hands over her.

DISSOLVE TO:

INT. MOTEL ROOM – LATER

They both are naked now. Kyle is on top of Sarah. Sarah grabs his face to hers, looking each other in the eyes.

SARAH  
>(moaning)<br>Do it, Reese.

Kyle nods as one of his hands roam down through her sexy naked body to her clit, touching around it. Sarah suddenly lets out a soft groan.

Kyle tilts up then silences her with the simple expedience of pressing his lips to hers. He keeps the kiss hard and insistent until she starts kissing him back and then relaxes and lets her share it, their head tilting and twisting as their lips slide and suck at each other. He lets his tongue tangle with hers in a slow, sinuous tango, tasting just a hint of him, until she probed back, battling his tongue back over the ramparts of their teeth. After a few moments one of Sarah's hands slides around Kyle's neck and down his smooth chest, over his abdomen, and finally to his cock. Wrapping her hand around his length she begins to leisurely jerk him off. Kyle gasps, and Sarah uses the opportunity to deepen their kiss, her tongue sliding its way into his mouth. Kyle's hands come up to grasp the back of her head, his fingers tangling in her hair.

Kyle runs his free hand over the smooth curve of her cheek to bury his fingers in her soft, dark hair and cups the back of her head before pulling her up to a hungry kiss. She arches back under the force of his kiss and then braces herself and then slowly straightens again as her fervor matched his, making a soft sound in her throat that he finds her sexy. She releases his wrist as her lips part under his and their tongues duels in the arena of their joined mouths.

They look at each other for a moment, then Sarah moves his hand lower, guiding his fingers through her slick nether lips. She slowly moves his fingers up and down the length of her pussy, allowing him to catalog every detail of her sex. Finally she positions his index finger so that it is at the entrance to the womanhood. Then she gently pushes it in.

As his finger continues to move within her, Sarah always lets out the occasional gasp or moan.

Kyle does the same for a few seconds.

Sarah moans harder as she grabs his face up to hers again before she automatically gives him a passionate kiss.

His hands go out and clutch her wrists with his on the side of their bed as he slides in and out of her. Sarah breaks their kiss and lets out her cry of pain from his action. Their sex is hot as the weather in the room seems to be heated. Sarah moans, cries out breathily before he slowly releases her from his firmly clutch, slides them to both of her breasts and starts to squeeze them by his firm hands as his hips rocks against her harder, penetrating her with his full length and his strong muscles of his dick. They lean and give each other a control of passionate kiss, his tongue caressing her lips and the inside of her mouth. She closes her eyes, tightly grabbing and scratching at his back.

Kyle rolls over pulling Sarah on top of him. Their bodies never disconnect. They are one. She sits up on him, his cock going deep inside of her. She sobs and leans down to kiss him.

She sits up and down on him as his hands squeezing both of her breasts so hard and firmly like they are just sponges for him. She always cries out of pain when her body sits up and down on him as sometimes it's him who rocks up against her axe wound.

Their breath becomes faster in a little seconds later. He collects his strength in time to sits up against her. She groans louder as he wraps his arms around her, pulling her body against him hard then harder and harder. It's like this until Sarah slowly weakens down and pants. Kyle rolls her down on the bed and gets on top of her again. He slides himself in and out of her faster and harder as his hands grabbing both her wrists beside them to lock her. Kyle leans his head into the crook of her neck. Sarah screams out so loud as he penetrates her involuntarily.

KYLE  
>(whispering)<br>Pain can be controlled, Sarah.

Sarah flinches biting her lip to keep from gasping and crying or screaming again as he penetrates her one last time, showing their orgasm.

CLOSE ON ONE OF KYLE'S HAND as it releases from her wrist and changes to grab her hand, hooking their fingers together like they become one with trust and love.

TOP SHOT ON THEM

It's like their hearts connect with each other as their hands, their bodies are connected and no one can disconnect them except they will disconnect their connection themselves.

HIGH ANGLE ON SARAH'S FACE

as Kyle's head collapse on the pillow under around her left shoulder. She smiles so weakly before she slowly closes her eyes.

SARAH  
>(weakly)<br>I love you too, Reese.

DISSOLVE TO:

INT. MOTEL ROOM – NIGHT

Sarah Connor and Kyle Reese both are dressed now. I know you can remember what they are dressed in. They giggle so happily.

Kyle freezes at the sound of DOGS BARKING.

INT./EXT. MOTEL/TERMINATOR'S POV - NIGHT

T-800'S H.U.D.

In his red color and red framed cyborg-vision we see the German Shepherd, barking furiously, lunging repeatedly TOWARD CAMERA on its chain.

PAN OFF, approaching the doors to the rooms.

The nearest vehicle parked in front is a LARGE PICKUP TRUCK WITH A DIRT BIKE lashed in the bed, seen prominently as we pass.

The H.U.D. approaches a door. Number 14. The door is KICKED OPEN.

Moving inside.

The assault rifle sprays the room, exploding the indistinct forms on the bed. Staccato glare. Approaching the bed.

Nothing there but the shredded remains of sheets and pillows.

The H.U.D. shifts to the BACK DOOR, which is ajar, and moves toward it. Through the door. Revealing an EMPTY YARD.

INT. PICKUP TRUCK/PARKING LOT - NIGHT

Kyle is under the dash, playing with the wires.

Sarah lies on the seat, clutching the nylon satchel, which bulges with the explosive charges.

Kyle twists the wires and the engine starts to turn over.

INT./EXT. MOTEL ROOM - NIGHT

T-800 spins at the sound of the truck engine catching.

FAST PANAGLIDE WITH HIM as he runs the length of the suite, through the front door.

He raises the assault rifle.

Kyle's pickup launches toward him. Slams him back against the wall as it screeches in an arc across the sidewalk, destroying a soft-drink machine. The pickup roars across the parking lot.

T-800 rolls to his feet. Picks up the fallen assault rifle. Runs with powerful strides to his motorcycle. He leaps on, starting it in one motion and shoots across the parking lot with the front wheel barely on the ground.

EXT. CITY RUINS – NIGHT

SUPERIMPOSE: "KANSAS BUNKER 2027"

Black sky. Stars. With a roar an AERIAL PATROL CRAFT enters close overhead. It has flashing plasma shots and powerful searchlights which stab down.

TILT DOWN to a vista of moonlit devastation.

White ash blows in drifts among fire-gutted ruins.

Another aerial unit hovers several blocks away, firing tracers into the ruins.

EXT. RUINS/POV THROUGH SCOPE – NIGHT

An electronically enhanced image of the aerial H-K as it patrols the ruins.

EXT. RUINS – NIGHT

MED. ON COLONEL MARTIN BEDELL as he scans the ruined city from the debris with a starlight scope mounted on his plasma rifle.

WIDER

as Bedell and several squad members enter the KANSAS BUNKER and descend out of sight.

INT. STAIRWELL – NIGHT

Bedell's squad climbs down a debris-choked stairwell. They pass a sentry post. Move down through several levels. Reach a welded barrier.

Two sentries with GERMAN SHEPHERDS on short leashes pass them through.

INT. PARKING STRUCTURE – NIGHT

The platoon enters a cavernous chamber, an old parking structure, in which a large group lives.

FOLLOWING BEDELL as he patrols the perimeter. He walks along a row of rusted CARS. He passes several family groups. Gaunt kids are huddled around an old TV SET.

REVERSE ANGLE

reveals that the set has been gutted and a small cookfire crackles inside the shell.

Nearby a kid has a LARGE RAT cornered and is whacking it with a stick.

Bedell pauses at the end of the row of vehicles.

C.U. - BEDELL gazing down. His head snaps around at the sudden sound of BARKING.

ANGLE ON SENTRY POST as the dogs go crazy.

SENTRY  
>(shouting)<br>T-800! Capture it!  
>Fire it at the chest.<p>

A T-850, looks like T-800, the sentry fires a plasma shot at his chest a split second just before it explodes.

The SCREEN WHITES OUT from the explosion.

CUT TO:

INT. BUNK – SEA SHADOW – EARLY MORNING

Allison's on her bunk. As she startles to wakes up:

ALLISON  
>Stefan!<p>

Allison turns around and finds Stefan's image sitting beside her. Something's wrong. He looks more blurred. It's really wrong.

STEFAN  
>(weakly)<br>I'm here, Alise.

Allison opens her eyes, she wakes up. Her eyes stare hard at him as she moves toward him. She looks worried.

ALLISON  
>What's happening with you?<p>

STEFAN  
>(weakly)<br>Nothing.

Stefan's image starts to a slow disappearance. Allison can't help him better. She can't hug him because when she wraps her arms around him, her arms can't touch or even take him. She looks up to him in his eyes as her face displays both fear and doubt.

ALLISON  
>What's this?<p>

STEFAN  
>I said 'nothing'.<p>

ALLISON  
>Please tell me. Stefan. Tell me.<br>If you don't want me to worry,  
>please tell me what's going on.<p>

Stefan smiles happily as he slowly grabs her hand up and places a gently kiss on it.

STEFAN  
>(smiles)<br>I need to go somewhere. I'll come back soon.

ALLISON  
>How long?<p>

STEFAN  
>Don't know. Maybe a day, few days,<br>a week, a month, or maybe a year.

Stefan looks to the door, stands up and walks to the door. Allison looks after him. Stefan turns to her and gives her a small smile.

STEFAN  
>I promise you I will come back.<br>Don't worry about me.

ALLISON  
>If I miss you...<p>

STEFAN  
>Assume that I'm always with you.<p>

ALLISON  
>(smiles)<br>Okay. I will be fine.

But you know she won't.

Stefan then walks to the door and fades away. Allison sighs.

KNOCK! KNOCK! KNOCK!

Allison quickly turns to the door.

EXT. SEA SHADOW – EARLY MORNING

LOW ANGLE

Sea Shadow sails slowly on the sea of the gulf of Thailand. Indigo water and the sun rise. It's a beautiful morning.

TILT DOWN

The water is very transparent. We can see the Japanese subs under the water and the school is swimming out of the way. It's very beautiful sea in the land of smile.

* * *

><p><strong>ACT 1<strong>

**(Sarah's ascent)**

KYLE(V.O.)  
>You are stronger than you thought, Sarah.<p>

FADE IN: (INSERT SCENES LIKE IN T1)

INT./EXT. FREEWAY/PICKUP TRUCK - NIGHT

KYLE slides the truck onto the highway and guns it, burying the throttle. Traffic is light...a few 18-wheelers. The truck tops out at 110 and he holds it.

Behind them a single headlight grows BRIGHTER, CLOSING.

EXT. HIGHWAY - NIGHT

LOW WIDE ANGLE preceding Terminator on the bike. He is tucked, getting as much speed as possible out of the 750.

As he GAINS ON THE CAMERA, FILLING FRAME, he unslings the assault rifle. Raises it against the windstream in a one-handed pistol grip.

INT. PICKUP TRUCK - NIGHT

Kyle motions Sarah to keep her head down. Instead she slips open the satchel and hands him a pipe charge. She pushes in the cigarette lighter on the dash. Kyle glances in the mirror.

EXT. HIGHWAY - NIGHT

T-800 closes on the pickup. They weave together like a slalom between 18-wheelers and other vehicles. T-800 fires. Bullets rake the pickup's tailgate, shatter the rear window. The windshield.

INT./EXT. PICKUP - NIGHT

Sarah is buffeted as Kyle fights to control the skidding truck.

KYLE  
>Switch places with me.<p>

She slides over him while he keeps the hammer down.

EXT. HIGHWAY - NIGHT

Kyle is out the window to the waist...watching the fuse burn low on the charge in his hand. He hurls it. It bounces in front of T-800's bike and EXPLODES. The bike skids through the smoke.

Kyle lights and throws a second bomb. Another explosion.

T-800 swerves, comes out of it with a shattered fairing. A broken headlight. A third explosion. A car near T-800's bike spins out of control.

T-800 FIRES. Bullets rake the pickup. The windows are blown out. The side mirror explodes. Kyle is hit. Drops the charge in his hand, unlit. Sarah screams and weaves, barely in control.

INT. PICKUP TRUCK - NIGHT

Sarah reaches across and pulls Kyle's limp body back inside. He slumps on the seat, moaning. Stunned.

SARAH  
>Kyle...oh God...<p>

He has a bullet in the chest. Sarah feels all hope recede.

EXT. HIGHWAY - NIGHT

T-800 crosses behind the truck, coming up on Sarah's side.

He FIRES. Sarah shrieks as the doorpost next to her head CLANGS with HITS. The short burst EMPTIES THE GUN. It CLATTERS TO THE PAVEMENT a moment later, discarded.

T-800 draws the .38. Takes aim.

Sarah SCREAMS. HITS THE BREAKS HARD. CRANKS THE WHEEL. GLASS behind her EXPLODES with gunfire. SWERVING VICIOUSLY the truck SLAMS THE BIKE, sending it FLYING INTO A GUARDRAIL. Terminator goes over the handle bars at a hundred miles per hour.

INT. PICKUP TRUCK - NIGHT

Sarah fights the wheel, losing control of the slewing pickup.

EXT. HIGHWAY - NIGHT

T-800 and the bike flip over the center guardrail. He hits the pavement, tumbling, rolling, sliding with a CHATTERING SCREECH and spraying sheets of SPARKS as flesh strips away and steel screams on concrete.

The pickup SWAPS ENDS violently, smashing into the guardrail.

EXT. HIGHWAY - NIGHT

T-800 slides to a stop in the middle of the oncoming lanes.

INT./EXT. PICKUP - NIGHT

Sarah is slammed hard as the truck grinds to a stop against the guardrail. She checks Kyle. He is barely conscious.

She turns to look at the body of Terminator in the opposing traffic lane.

EXT. HIGHWAY - NIGHT

After a long moment T-800 slowly rolls over and sits up.

LOW ANGLE as he rises into FRAME, a mass of blood. Clothing and skin in tatters. HEADLIGHTS FLARE behind him and an AIRHORN BLARES.

FULL SHOT as a TRACTOR-TRAILER GASOLINE TANKER smashes him down and under with a METALLIC CRASH.

ANGLE UNDER TANKER as T-800 rolls, clattering, and the mass blurs above him. He RICOCHETS between the pavement and the speeding undercarriage until a stray bounce flings him up into the rear suspension. He clings with inhuman strength.

EXT. HIGHWAY - NIGHT

UP ANGLE ON SARAH at the door of the pickup. She raises one fist into the air triumphantly.

SARAH  
>Alriiight!<p>

INT. TANKER CAB - NIGHT

The stunned DRIVER hits the brakes. His PARTNER grabs his arm.

PARTNER  
>Don't stop.<p>

They lock eyes for a moment.

DRIVER  
>I have to, man.<p>

EXT. HIGHWAY - NIGHT

Sarah watches the truck roll on without leaving a body in its wake. She feels a premonitory dread.

EXT. HIGHWAY/TANKER

Beneath the braking semi, T-800 CRAWLS UPSIDE-DOWN, hand over hand like a HUMAN FLY, toward CAMERA. The left eye GLOWS LIKE A COAL in the dark. As the pavement stops beneath him he drops off and rolls out from under the truck.

INT. TANKER CAB - NIGHT

The driver looks around in astonishment as his door is ripped open. T-800 appears. A grisly apparition.

FLINGS THE DRIVER OUT and takes his place behind the wheel. Ignoring the terrified partner, he examines the controls.

T-800'S H.U.D.

In digitized cyborg-vision we see an ABSTRACT OF THE INSTRUMENTS. The shift lever is extended graphically down into a three-dimensional SCHEMATIC OF THE TRANSMISSION. Analytical DATA PRINTS OUT RAPID-FIRE.

EXT. HIGHWAY - NIGHT

Sarah watches in growing horror as the door to the distant tractor-cab opens and the partner leaps out...hits the ground running. The nightmare refuses to end.

The pickup is out of action. Flat tire.

She searches the cab frantically for the KEYS TO THE MOTORCYCLE. Finds them above the sun visor. Sarah leaps into the bed of the pickup and attacks the motorcycle strap-downs frantically.

The tanker ROARS, begins to move. Swings in a ponderous arc. Panting with terror she rolls the bike off the truck. It crashes on its side and she falls on it painfully. The tanker TEARS THROUGH THE DIVIDING FENCE. Turns toward her. Straining until she CRIES OUT INVOLUNTARILY, she lifts the bike upright. KICKS the engine over.

LOW ANGLE up the face of the tractor-trailer, the retaining wall blurring by. T-800's red eye can be seen behind the windshield.

The truck BELLOWS, shifting up through the gears.

Sarah kicks again and again, crying out with each stroke. Again and again, furiously.

SARAH  
>(rapidly)<br>Come on, come on, come on...run, you...

Sarah looks down.

DETAIL - Two high-velocity rifle bullets have shattered the engine case.

The bike is useless. She looks up. The truck is bearing down on her B.G., a mountain of metal. She drags Kyle, stumbling, from the cab of the ruined pickup. Hauls him over the retaining wall.

LOW ANGLE as the tanker demolishes the pickup a moment later, TOSSING IT ASIDE LIKE A BEER CAN.

EXT. INDUSTRIAL SITE - NIGHT

Sarah and Kyle scramble under a locked gate and run across the STORAGE LOT of a MODERN FACTORY COMPLEX of LOW BUILDINGS.

Kyle struggles to keep up, holding the satchel.

LIKE A JUGGERNAUT the truck follows, smashing through parked cars and a chain link security gate, demolishing the guard shack.

They enter an alley-like space between two buildings. Kyle is fumbling to open the satchel.

INT. TANKER CAB - NIGHT

OVER T-800'S SHOULDER, looking down at a tiny figure below, running in the headlights' glare. It is Sarah, alone.

EXT. ALLEY - NIGHT

Kyle crouches in a TRASH DUMPSTER which is sandwiched between the wall and the tanker. There are only inches of clearance as the trailers pass by. He lights a PIPE CHARGE, jumps up and wedges it under the tank-cylinder of the second trailer. He ducks as it rolls on. Sarah is stumbling in the glare of the truck's lights.

E.C.U. - PIPE BOMB the fuse burning.

M.C.U. - T-800 through the windshield, his eye glowing.

C.U. - KYLE huddled in the dumpster.

LOW WIDE ANGLE ON SARAH AND TRAILER (PROCESS SHOT) The REAR TRAILER EXPLODES. An unbelievable FIREBALL ERUPTS SKYWARD, silhouetting Sarah's running figure F.G. The dumpster is enveloped by fire and hurled, rolling, down the alley. Sarah makes it around a corner as the FORWARD TRAILER EXPLODES and an OCEAN OF FLAME rolls forward, blasting by her.

The dumpster topples and Kyle rolls out, surrounded by fire.

SEQUENCE – T-800 In the center of the inferno Terminator struggles violently. His FLESH FIRES AND SIZZLES. He tears loose from the TWISTED WRECKAGE and collapses to the ground. Sinks into a CHARRED MASS. STOPS MOVING.

C.U. - T-800 mouth open, skull-like, motionless in the flames.

EXT. ALLEY - NIGHT

Sarah crawls away from the intense heat and lies watching the motionless figure in the blaze.

EXT. ALLEY/FAR END - NIGHT

Sarah rounds the corner, staggering, searching. She sees Kyle crumpled face-down near the dumpster, sheltered from the heat by its mass. She drags him away. Rolls him over.

C.U. - KYLE his head lolls. He opens his eyes

KYLE  
>(weakly)<br>Sarah.

SARAH  
>We did it, Kyle. We got it.<p>

She hugs him.

FULL SHOT (PROCESS) They hold the embrace, silhouetted by the diminishing flames. It would be a wonderful final image.

Except...T-800 STAGGERS OUT OF THE BLAZE BEHIND THEM.

M.C.U. - T-800 the last flakes of flesh are falling from him like burning leaves. Revealing its endoskeleton, the eyeballs swivel with a WHIR of tiny servos, both glowing red now. It turns slowly and fixes its gaze directly INTO CAMERA.

EXT. ALLEY - NIGHT

C.U. - SARAH She chokes on a scream, crams knuckles in her mouth.

FULL SHOT as the machine takes a step toward them, dragging one MALFUNCTIONING LEG.

PANAGLIDE WITH KYLE AND SARAH as they stagger to their feet and run to the nearest building. They come to a glass door. Kyle kicks it in. Unlatches it. They enter dark OFFICES to the sound of ALARMS and DISTANT SIRENS.

INT. CORRIDORS - NIGHT

Sarah and Kyle run down a corridor. Through a door, which they close and lock. They move off down a cross-corridor.

The T-800 BLASTS THE DOOR OFF ITS HINGES, F.G., and staggers through. It starts after their receding figures as they round the corner at the end of the hall.

INT. OPEN OFFICES - NIGHT

Wracked, exhausted, they stumble through a maze of PARTITIONED OFFICE CUBICLES.

INT. CORRIDOR - NIGHT

The T-800 catches sight of them through a floor-to-ceiling window. It makes an unhesitating right turn through the glass.

INT. OPEN OFFICES - NIGHT

Sarah and Kyle look back at the sound of SHATTERING GLASS.

FOLLOWING SARAH AND KYLE as they reach a heavy FIREDOOR and go through.

INT. MANUFACTURING AREA - NIGHT

Kyle slides the bolts on the metal firedoor. Behind them are acres of machinery in darkness. Silence. CRASH! The Terminator hits the door from the far side. Hinges SQUEAL.

Kyle goes to a LARGE BREAKER PANEL and opens it. Starts throwing switches. Behind them, machines START UP ONE BY ONE.

KYLE  
>(weakly)<br>Wait!

SARAH  
>(panting)<br>What are you doing?

KYLE  
>(weakly)<br>Cover...so he can't track us.

He sags, sliding down the wall. She pulls him up. Half-carries him to the maze of machines.

The dark gallery is filled with WHIRRING, CLANKING SHAPES, SHATTERING CONVEYER BELTS and improbable mechanisms lashing mindlessly. Kyle slips to the floor and Sarah is no longer able to support him.

SARAH  
>No, Kyle!<p>

KYLE  
>(faintly)<br>Leave me here.

Sarah crouches beside him. Grabs his shirt front. She pauses, then resumes in a commanding, military shout.

SARAH  
>Move it! Reese! On your feet, soldier!<br>On your feet! Move it!

She drags him to his feet and he staggers on. Hinges SHATTER and the firedoor is hurled inward. The T-800 scans the darkness.

ANGLE - PANNING WITH SARAH AND KYLE as they move through the machines.

The cyborg steps forward, scanning methodically.

Sarah and Kyle move in a crouch through the treacherous tangle of pipes and machinery. Kyle picks up a length of pipe to use as a weapon. As they climb out onto a catwalk between the two huge mechanisms, Sarah clambers over an innocuous CONTROL PANEL.

Her knee inadvertently hits a RED PUSH BUTTON.

With a ROAR the stamping-plate of a HYDRAULIC PRESS slams down an inch from her hand. Startled, she tumbles to the catwalk. The T-800's eyes swivel as it hears the single non-rhythmic sound.

Kyle and Sarah run to the end of the catwalk, but find the door is locked.

SARAH  
>Come on!<p>

They double back to escape the cul-de-sac. The T-800 steps in front of them, cutting them off.

KYLE  
>(shouting)<br>Run!

He pushes Sarah roughly and she stumbles away. Kyle raises the pipe with his good arm as the Terminator advances.

KYLE  
>(over his shoulder)<br>Run, damn it!

She hesitates, backing away.

The cyborg swings at Reese STEEL CLANGS ON STEEL.

Kyle strikes and parries but is sledgehammered back.

ANGLE ON CATWALK as Kyle lands in a heap, smashed against a stanchion of the railing which prevented him falling to the factory floor twenty feet below. Sarah turns and runs.

LOW ANGLE PAST REESE, F.G., as the cyborg approaches him.

E.C.U. - A FUSE BURNING.

C.U. - KYLE'S FACE streaked with blood, pressed to the floor as a metal foot CLANGS DOWN, F.G. His eyes snap open.

Sarah falls, gets up, runs on.

The T-800 draws back for a death blow. And Kyle rolls with the last of his strength, raising the pipe bomb he has been cradling. He jams it between two hydraulic cylinders just beneath the cyborg's armored ribcage. Then rolls off the catwalk. T-800 has an instant to react, reaching for the bomb, before it EXPLODES.

Sarah is pitched forward by the blast and slides on the floor. Slams up against one wall. A withering spray of shrapnel strafes the walls around her. Pieces of scrap metal clatter throughout the factory, raining down.

C.U. - SARAH very still. She winces and opens her eyes. Slowly looks up.

SARAH'S POV.

as the smoke clears. The Terminator is GONE. Unrecognizable clumps of BURNING DEBRIS lie scattered about. Looking down through the grating floor she sees Kyle's body.

BACK TO SCENE

LOW ANGLE ON KYLE F.G.,/SARAH ON CATWALK ABOVE Kyle's eyes are half-open. Still. His face peaceful.

Sarah looks down. Protruding from her right thigh is a TWISTED PIECE OF METAL. Shrapnel. Part of the cyborg. She pulls it out, grimacing. Her leg is broken. It is a long time before she can gather the will to move. She starts to crawl towards Reese's body. She passes A LARGE CLUMP OF DEBRIS, F.G.

ANGLE ON DEBRIS as it rolls over suddenly! Now recognizable as the TERMINATOR'S HEAD AND ARMS, with half of the scattered torso trailing wires and twisted metal. IT LUNGES FOR HER! Sarah wants to scream this time, from the depths of her soul, but there is no scream, only a dry shivering sob.

The T-800 drags itself SCRAPING over the floor, steel fingers clutching.

Sarah is shaking and whimpering as she scrabbles away, crawling in agony.

ANGLE ON CONVEYOR BELT as Sarah flops from the catwalk onto the MOVING STRIP. She is carried into the intricate lattice of equipment. Sarah rolls off weakly before going under a set of sorting rollers.

ANGLE THROUGH MACHINERY - ON THE TERMINATOR as it crawls after her, dragging its body. It tracks her unerringly, EYES GLOWING.

Sarah moves deeper into the DARK, CLASHING JUNGLE of machinery. Around her is a tangle of CABLES, PIPES and unforgiving mechanisms of steel. The T-800 clambers through after her.

C.U. - SARAH She catches sight of something. A familiar CONTROL BOX. She drags herself toward it.

C.U. - THE T-800 It spots her wedged in a tiny crawl space. No way out. It crawls the last few feet, EYES RED IN THE DARK.

Hypnotized, Sarah watches the T-800 REACHING TOWARD HER. She is jammed in a corner. Sarah's hand claws around to the front of the control panel, seeking the RED BUTTON.

E.C.U. - HER WET FINGERTIPS FEEL THE BUTTON.

ANGLE ON THE TERMINATOR his steel hand reaching out.

E.C.U. - SARAH her face inexplicably calm, eyes steady in that infinite instant. She clenches her teeth to keep from screaming as she WAITS. The T-800's hand reaches for her throat to crush the life out of her and end its long mission.

SARAH  
>(voice icy)<br>You're...terminated...fucker!

E.C.U. - BUTTON as her bloody finger stabs it down.

FULL SHOT showing how the cyborg has been led into the MAW OF THE HYDRAULIC PRESS.

THE STAMPING PLATE THUNDERS DOWN! Tons of mechanical pressure flatten the T-800's head and body like tin-foil. The PRESS SCREAMS, jamming solid. Lightning snaps out in one brief blaze, leaping to surrounding machinery, arcing to Sarah's wristwatch. All the T-800's energy is released in one second.

ANGLE ON THE NARROW GAP BETWEEN THE UPPER AND LOWER PLATES a pinpoint of red light DWINDLES AND GOES OUT.

TIGHT ON SARAH shivering uncontrollably. The steel fingers are frozen an inch from her throat. She can only stare as water runs over her.

FADE TO BLACK:

KYLE (V.O.)  
>I can't help you with what you must<br>soon face...You must be stronger than  
>you imagine you can be.<p>

INT. WHITE BEDROOM – DAYTIME UNCERTAIN

CLOSE ON SARAH CONNOR (apparent age 37), opens her eyes, finding herself has lay on the white bed and she is covered with a white blanket. Yes, she's naked under that blanket.

She sits up and looks around the large white bedroom. The room is the same size as the white room in her last dream. No John Henry. No Emma Akagi. No machines. It's just her and...

NAKED KYLE REESE. Sitting on the edge of her bed, he looks like a common 45-years-old man.

SARAH  
>Kyle..? Where are we?<br>Why do you look older?

He gives her a gentle smile.

KYLE  
>Come on. Take a shower.<br>Our son and his wife is  
>waiting for us.<p>

SARAH  
>Is this a dream?<p>

KYLE  
>Probably.<p>

Kyle stands up and walks to the bathroom. Sarah smiles and pulls the blanket off revealing her sexy naked body. She quickly stands up and follows him into...

INT. BATHROOM – CONTINUOUS

Sarah walks in the bathroom and doesn't see Kyle in there. The shower has been turned on.

She turns around and finds his clothes on the rack beside her. Focus on Sarah proud on herself face, Scene insertion of the next scene:

INT. BATHROOM – MOTEL - NIGHT

NAKED KYLE REESE(26), just leans forward, placing first his hands and then resting his forehead on the cool tiles under the shower head as he rolls his shoulders against the hot needles of water pouring from it. He winces slightly as he cracks his neck and then sighs as he forces himself to relax and lets the hot water try and sooth the tension from his muscles as it sheets down his body. He looks very serious.

KYLE  
>(to himself)<br>What did you do, Kyle?

ANGLE ON THE OPEN DOOR BACKWARD KYLE.

SARAH CONNOR(19), has wrapped just a white towel under her arms, steps in the bathroom so quietly and carefully. She slowly closes the door behind her and then locks it.

Kyle pounds his hand on the wall then...

KYLE  
>I'm sorry, Sarah.<p>

Sarah sighs and then focuses on his clothes on the rack beside her. She pauses for a few seconds before she slipped the towel off without hesitation, leaving it on the rack with his clothes.

Sarah then looks back at Kyle.

SARAH  
>Nothing to be sorry about.<p>

He turns to face her with some guilt in his mind. He finds her standing naked behind him, the water starting to soak, darken and smooth her black hair as well as make her lush feminine curves glisten wetly. Sarah takes another step to him and leans her head against his strong chest.

SARAH  
>I love you, Kyle. I need you.<p>

Sarah slides one of her hands down through his chest, his abdomen, and heads to his manhood. Then they kiss each other under the shower water as Sarah wrapping her hand around his length she begins to leisurely jerk him off. Kyle gasps, and Sarah uses the opportunity to deepen their kiss, her tongue sliding its way into his mouth. Kyle's hands come up to grasp the back of her head, his fingers tangling in her hair.

Sarah ends their kiss and rests her forehead against Kyle's, her hand continuing to slowly slide up and down his manhood.

KYLE  
>Okay.<p>

With that he kissed her, his hands sliding down her back to pull her body against his. They fall on the floor of the bathroom together.

TOP SHOT, Kyle is on top of Sarah now.

ANGLE ON THEM as his hand goes down to her side, holding her ribs (or at least what feels very much like ribs) as he lowers his body to hers, his dick pressing against her crotch, her pussy hot and dry against his sex. Sarah raises her legs, her thighs pressing against his hips. She wraps her arms around his torso, her hands running up and down his back. Kyle repositions himself, his cock and balls sliding against her folds, then raises his pelvis up, maneuvering his penis so that its tip sits at the entrance to her vagina. He moves his hand back up to her side and they just look at each other for a long moment. Then Kyle pushes down and forward, sheathing himself inside her.

They each gasps as Kyle fills her. On instinct Kyle pulls part way out again, only to thrust back into her. As he moves in her he marvels at the feeling of her sex around his cock, the way she clutches at him, bathing his penis in liquid heat.

Sarah grabs Kyle's shoulder with one hand, her another going down to clutch his ass. She rocks her hips in time with his thrusts, letting out a low grunt every time he bottoms out inside her. Kyle kisses her, their tongues sliding against each other. He moves the arm beneath her, holding her chest against his, falling her breasts press against him. His other hand moved to grasp her thigh, steadying her pelvis as he increases the power and speed of his thrusts. Their kiss ends and Kyle buries his face in the crook of Sarah's neck, her hand on his shoulder coming up to hold his head.

Kyle gasps. He thrusts into her one last time before going over the edge, filling her womb with his seed. Kyle lies on her, both their bodies drenched in sweet, gasping as his body seems to hum with the afterglow of their copulation. She feels his sex slowly soften within the embrace of her womanhood.

After a few moments Kyle moves off of her, lying on his back to her right. Sarah rolls onto her side and looks at him. Smiling to each other.

LATER, Kyle uses a towel to dry Sarah's hair now. Two towels have been wrapped round their each body. They look happy and funny. They give each other the friendly smiles.

BACK TO PRESENT

Sarah Connor, smiles before she goes to the shower.

**END OF ACT 1**

* * *

><p><strong>ACT 2<strong>

**(The connection)**

INT. OUTSIDE JOHN'S ROOM, SERRANO POINT – DAY

Cameron walks through the dark way to the door that installed eyeball scanner. Cameron accesses biometric authentication systems. The door opens automatically.

INT. JOHN'S ROOM, SERRANO POINT – DAY

A large room, basically look very just like Perry's room in F03EP02 but there's no bed. His bunk is in the next door. John is sitting on a chair in front of the computer on his desk. He faces Cameron who gets in his room.

JOHN  
>Give me the answer.<p>

Cameron pauses.

CAMERON  
>John. It's bad. The answer is no.<p>

John seems very serious. Cameron pities him but nothing she can do for him unless tells him...

CAMERON  
>I'm sorry for your loss.<p>

John stands then turns to her.

JOHN  
>Forget it.<p>

CAMERON  
>I'll change it.<p>

John shakes his head "no".

JOHN  
>Not now. Not yet.<p>

CAMERON  
>Why not?<p>

JOHN  
>I've a plan not for me but for everyone.<p>

CAMERON  
>And what's the plan?<p>

JOHN  
>Not now.<p>

CAMERON  
>When?<p>

JOHN  
>You might someday.<p>

John gets in his bunk. Cameron then walks off his room.

INT. OUTSIDE JOHN'S ROOM – DAY

Cameron exits the room and walks through the hallway. She walks and sees...

...A T-800 walks through Cameron very hurriedly. Cameron turns to him immediately. He also turns to her. It seems he not know her. They are standing on opposite of each.

T-800'S H.U.D.

Like in T2, T-800's H.U.D. has red screen display. His CROSSHAIR points at Cameron. His left side display shows data of John Connor (HGHT, WGHT, HAIR, EYES, GEND, DIST, FACI, BILD, POST) and shows result : "PERCENTAGE MATCH : 39.45001 PROBABLE".

Then his lower center command display shows : "IDENT NEGATIVE". His higher center command display shows : "NO MATCH".

TIME CUT TO CAMERON'S H.U.D.

Cameron's cursor points at a T-800. Her lower command display shows : "TERMINATOR IDENTIFICATION ...sending wireless signal..." then shows : "NO MATCH" under old command. Her lower command display is replace by : "SKYNET INFILTRATOR" and then replaced by : "THREAT : 99.99"

BACK TO SCENE

T-800 vacates his eyes from Cameron but she is still looking at him. T-800 is looking around the door while Cameron is aiming her Glock to him.

Cameron shoots it 15 shots. T-800 turns to her immediately.

T-800'S H.U.D.

His crosshair points at Cameron then scans her. That reveals him Cameron is a cyborg. His lower command display shows : "UNKNOWN CYBORG" then shows : "THREAT : 73.97".

BACK TO SCENE

T-800 runs to Cameron then shoves her out of the way very hard. Cameron bounces off very far.

T-800 grabs Cameron's Glock that has fallen on the ground after he has shoved her away. Then he turns to the door, aims his new Glock to a bar after that shoots at it immediately.

He kicks the door bounce off then accesses in the room.

INT. JOHN'S ROOM, SERRANO POINT – DAY

A T-800 gets in then turns around the room.

T-800'S H.U.D.

In Search Mode, His cursor turns around the room but there is no one inside.

BACK TO SCENE

A T-800 turns around the room again.

T-800'S H.U.D.

In IR mode: PANS and ZOOMS show that the bunk's area is now populated with someone inside maybe John Connor.

BACK TO SCENE

A T-800 keeps looking at John's bunk then subtly glances at it.

INT. OUTSIDE JOHN'S ROOM - DAY

Cameron who was falling on the ground very far from the room, is standing up. Cameron stands up then runs to John's room immediately.

INT. JOHN'S ROOM, SERRANO POINT – DAY

It seems that a T-800 know John is staying inside a bunk. He walks to a bunk very slowly and quietly.

Cameron appears behind him.

CAMERON  
>Hey, fuck you.<p>

A T-800 returns to her but it's too late. Cameron punches on his left eye very fast then kicks him away from John's bunk. She smiles proudly.

T-800 stands up then runs to Cameron and punches at her but...

...she can defense it. Cameron scoops T-800's left eye out then kicks on his head but...

...he can defenses it too. T-800 barges at Cameron's chest.

Cameron bounces off and collides with a wall very hard then lies down to the floor with some stones and some bricks.

T-800 walks to Cameron immediately then kicks her forward while she is standing up. Cameron lies down again. T-800 pinches Cameron's head and pulls up then knocks it on a wall involuntarily.

Sound from the head hits on a wall is very loud.

INT. JOHN'S BUNK - DAY

Previous Future John Connor is in a one-time closet about the same size John's Holding Room is. There are two small bunks and one trunk.

John's heard everything from outside. John can't bear with that anymore.

JOHN  
>Cameron, I can't let you get hurt anymore.<p>

John grabs his plasma shotgun XM1014 then exits the room immediately.

INT. JOHN'S ROOM, SERRANO POINT – DAY

John exits from his bunk. T-800 relinquishes Cameron down on the floor then turns to John immediately. Cameron's face has many scars and cuts. She lies down the floor.

John aimed his plasma XM1014 to him and was ready to fire. But after a T-800 turns to John, He can't fire him.

John's shotgun falls to the floor. His face is silent after he has seen T-800's face.

JOHN  
>I owe you my life. Come on.<p>

That got T-800's attention.

JOHN (cont'd)  
>Do it, kill me. Nothing matters anymore.<br>Let her go then finish your mission.

T-800 walks to John slowly with his friendly smile on his face.

John closes his eyes. That seems John want to be killed by that machine.

T-800 tramples John's shotgun. T-800 then nearly strangulates John but Cameron stands up and pushes him away from John at once. Cameron calls to John's mind.

CAMERON  
>Don't you think that John.<p>

John opens his eyes immediately.

JOHN  
>Cameron. Please let his mission be complete.<p>

CAMERON  
>But you...<p>

JOHN  
>Nothing matters anymore.<p>

T-800 (O.S.)  
>John Connor, it's the time.<p>

T-800 gets in the room again.

John and Cameron turn to him. Cameron is ready to fight again but...

JOHN  
>(nod)<br>Yes, uncle Bob. It's the time.

Cameron turns to John again.

CAMERON  
>No, John.<p>

John walks forward two steps. Cameron keeps his hand out. John turns to Cameron again.

JOHN  
>Release me.<p>

CAMERON  
>No, John. Please stay with me.<br>Please John, please.

Cameron starts crying. Some tears start streaming down. That got John's attention.

John turns to T-800 then walks backward two steps.

JOHN  
>(shake his head to T-800)<br>No. It's not the time. It's the  
>time for you not for me.<p>

John changes his mind.

T-800 runs to John immediately.

Cameron pushes John backward then collides with a T-800 for fighting again.

T-800 bounces off not far. He then stands up very quickly.

T-800 walks to Cameron then catches her and pitches her away to backward.

Cameron bounces off very far.

T-800 turns to John immediately. At that time, John hasn't any weapons.

T-800 then runs quickly to John and barges at John's chest. John bounces off. His back collides with a wall very hard. He lies on the floor after that. John now breathes very involuntarily.

T-800 walks to John then looks at his chest.

T-800'S H.U.D.

In X-ray mode : SCANS at John's chest. Sternum and some top ribs was broken. Some pieces of ribs stab on John's lungs.

BACK TO SCENE

T-800  
>John Connor. You're dying. Any last words?<p>

John tries to stand up again but he has something pain in his chest. He can't stand up.

T-800  
>Termination is complete.<p>

Cameron appears at T-800's backside with a big cord in hand.

CAMERON  
>You think so but I don't think so.<p>

Cameron shocks at T-800's neck by a big cord in her hand immediately.

T-800'S H.U.D.

The lower command display shows : "POWER OVERLOAD".

BACK TO SCENE

A T-800 lies on the floor. Cameron uses a penknife push a chip's lid then pulls T-800's chip. She keeps it in her pocket.

She then creeps to John and kneels on the floor beside him. She touches at John's chest softly.

CAMERON'S H.U.D.

She can't x-ray but she touches his chest, she finds what's going. It's bad. His ribs break and stab on his lungs. His sternum breaks and maybe he flows inside too. His heart rate falls so quickly. Result shows: "STATUS: VITAL SIGNS CRITICAL". EXPIRATION IMMINENT.

BACK TO SCENE

CAMERON  
>(shake her head)<br>Oh, no. John. Your top ribs, they break and  
>stab on your both lungs. I'll call Felicia.<p>

Cameron stands up but John pulls her hand. Cameron turns to John with some tears on her face. John shakes his head "no".

PREVIOUS FUTURE MAJOR GENERAL JUSTIN PERRY and some soldiers get in the room. They see T-800's body on the floor and Cameron who is crying.

PERRY  
>What was going on?<p>

Cameron turns to Perry immediately.

CAMERON  
>General, please call a doctor.<p>

Perry turns to his men immediately but...

JOHN  
>(shout)<br>Don't. Perry don't.

Cameron turns to John.

JOHN (cont'd)  
>I'm dying. I'm so happy to die for you.<p>

Cameron kneels beside John then continues crying. Her face looks very sad. John touches her tears then smiles happily at her.

JOHN  
>(smile)<br>No, my love.

That got Perry's and all soldiers' attentions.

JOHN (cont'd)  
>You said to me many times but I never<br>said to you before. I love you.

CAMERON  
>(crying)<br>If we have no you, we can't win this war.

JOHN  
>(shake his head)<br>No. If I don't have you, I can't lead  
>an army too. You help me for times.<br>(to Perry)  
>Perry.<p>

Perry pays attention at John.

PERRY  
>Sir.<p>

JOHN  
>(shout)<br>Hence, Cameron is your leader.  
>You are hers to command.<br>(to Cameron)  
>Promise me. Promise me, you<br>won't betray them.

CAMERON  
>Don't say anything John. I promise you.<p>

John is relieved. He then closes his eyes. His face seems very happily and peacefully. Cameron is leaning her face to John's forehead very slowly. She closes her eyes then places a gentle kiss on John's forehead before she stands, keep looking at John. She wipes the tears on her face as every moment she keeps looking at John.

CAMERON  
>I'll see you again, John.<p>

Cameron turns to Perry and his men. They are silent about what just happened. Some of them including Perry are crying.

CAMERON  
>Perry, I need you to do something for John.<p>

Perry wipes his tears.

PERRY  
>What can we do?<p>

CAMERON  
>Prepare our forces. I'll come back to<br>save John. Take me to the TDE.

PERRY  
>Okay.<p>

Perry then turns to his men.

PERRY  
>Do the thing what she said.<p>

ALL SOLDIERS  
>Yes, sir.<p>

They exit. Cameron is still inside the room.

TURN PAGE (PEEL) TO:

EXT. GRAVEYARD – EVENING

This is the same graveyard in S02EP21. The structures were destroyed by nukes and have since been reclaimed by nature. Cameron, Perry, PREVIOUS FUTURE STEFAN and some soldiers are nearby a freshly filled-in grave.

All of them cry.

STEFAN  
>If I were there with John, he wouldn't die.<br>You did everything you could do. I understand.

CAMERON  
>But it's not enough.<p>

Stefan wipes his tears then gives Cameron a friendly smile.

STEFAN  
>We'll do everything we can do for John.<br>Please tell us what we can do.

Cameron nods.

CAMERON  
>I think I understand how you felt like when<br>you lost Allison Young.

She wipes her tears then turns to Perry with a friendly smile. Stefan releases his hand from Cameron's shoulder.

STEFAN  
>John died. Allison died. Everyone one<br>we love died. I think it's enough.  
>Now it's me who will help you.<p>

They both smile to each other again before they look back to the urn.

CLOSE ON CAMERON'S FACE(then slow mo:) as her tear falls, together with DISSOLVE TO THE NEXT SCENE:

We TRACK OVER THE TEAR as it falls onto...

INT./EXT. CULVERT – EARLY MORNING

C.U. - JOHN, brightly lit by daylight. Asleep. The tear has fallen on him.

Cameron, sitting there and his head resting on her laps, she's crying as her hand lightly wipes her tear on his face. An uncharacteristically tender gesture. She gently caresses his cheek with the backs of her fingers.

When he awakens suddenly she snaps his hand away and quickly wipes her tears on her own face.

John looks around, momentarily disoriented. Looks up at Cameron.

JOHN  
>Did you cry? What happened?<p>

CAMERON  
>(shakes her head)<br>Nothing. I just thought of our  
>old story. Nothing you have to<br>be worried about.

Cameron extricates herself from him and stands up.

CAMERON (cont'd)  
>It's just the past. Don't mention it.<p>

John stands and gets closer Cameron.

JOHN  
>What's the story? No secret between us<br>anymore. We already promised.

Cameron turns to John. Something's wrong in her look. Cameron suddenly lifts her head and listens. They whisper.

JOHN  
>What the hell?<p>

CAMERON  
>There's someone around here.<p>

JOHN  
>Ellison, Murch, Semina or someone else.<p>

CAMERON  
>Not them. A human. I'll go to check it.<br>That one tries to run and runs to the  
>indeterminate way. One's steps show<br>suspicion. That one are getting away.

JOHN  
>We need to help that one.<p>

CAMERON  
>Okay. As you wish.<p>

They nod then...

They emerge into a dead landscape of mountain forest, wreathed in early-morning mist.

INT. HALL – MORNING

This is the large hall. GENERAL PICHITHCAI walks from the large wood ladder. He looks happy. He walks toward...

PICHITHCAI  
>You come. My daughter in law.<p>

...Allison Pichitchai and COLONEL HIKARU CHINTAI who runs to him. There are just twenty Japanese naval officers follow the colonel. The colonel and the emissary are going to face with General Pichitchai at the center of the hall.

ALLISON  
>General Pichitchai. Nice to meet you again.<p>

Allison and Pichitchai run so quickly to face each other. Pichitchai pulls her into a hug. Allison seems to be a bit surprised by that outpouring and that there was nothing sexual or about Pichitchai's posture.

Allison slowly takes off and Pichitchai stands still, looks through over shoulder to the Japanese colonel and then gives him a friendly smile.

PICHITCHAI  
>(in Japanese)<br>"Thank you, Hikaru."

Allison turns back to Hikura. Allison looks happier after she has faced her father-in-law.

PICHITCHAI (cont'd)  
>"Where is the stealth ship?"<p>

HIKARU  
>"We've moored it in the dock<br>nearby the skyscraper."

PICHITCHAI  
>"Okay. You can go now. Get some relax."<p>

HIKARU  
>(in Thai)<br>"Thank you, sir."

Hikaru and his men turn back and leave.

Pichitchai and Allison turn to face each other. He gives her a family smile.

PICHITHCAI  
>Allison. How are you today?<p>

ALLISON  
>I'm okay but Stefan, he's...<p>

PICHITCHAI  
>I has known that for a month. Perry's Morse<br>codes told me everything about Stefan.

Pichitchai changes the look. He looks like he's sad but there is still no tear from both of his eyes.

PICHITCHAI (cont'd)  
>I'm sorry about that. It's all my fault.<p>

ALLISON  
>No. It's not.<p>

PICHITCHAI  
>(sighs)<br>Huh! Okay. I think you need to  
>know where your room is. Come on.<p>

Pichitchai turns to the wood ladder and leads Allison to the upper floor.

**END OF ACT 2**

* * *

><p><strong>ACT 3<strong>

**(Strongest Power)**

INT. ALLISON'S NEW ROOM – DAY

The small room looks very like a hotel room but many things make it special. A personal computer on a desk with many devices for connection, and sound recognition. The same color and same shape bed like in Allison's house. The wood end table beside the bed with a wireless phone, a lamp and a clock on it. Dresser and rustic glass at the corner of the room. The room is dim until...

...Sounds of LOCKS UNLOCKING and BOLTS SLIDING precede the door

opening, flooding the room with comparably bright light. A silhouetted man and a silhouetted woman step inside. That man turns on the light bulbs, revealing they are Allison Pichitchai and General Pichitchai.

PICHITCHAI  
>This was Stefan's room. He had lived here<br>before he traveled to Los Angeles last month.

ALLISON  
>What's that?<p>

Allison points to the end table beside the bed. There is a photo on it. It's a photo of...

INSERT PHOTO

Marcus Young stands between Prof. Dr. Maniduang Pichitchai and General Pichitchai. Behind them are Colonel Justin Perry, Edword Sanctum, and more ten people. In b.g., it's Psytect Corporation, the 20 floors building with the symbol for the company.

BACK TO SCENE

ALLISON  
>You know my father.<p>

PICHITCHAI  
>Yes. He built this dome after J-Day.<br>He's dead. Allison.

ALLISON  
>Was he a hero, my dad?<p>

They turn to look at each other.

PICHITCHAI  
>(smiles)<br>Yes, he was. This dome has hid us for a long time.  
>We can protect our people here. We Asians have<br>associated to protect and rebuilt our social.

PICHITCHAI (cont'd)  
>Japanese subs protect us at the entrance in the<br>gulf of Thailand. Chinese army units station in  
>northern part including their land.<p>

ALLISON  
>Why is Bangkok sunken under the water?<p>

PICHITCHAI  
>The land has collapsed and the water level<br>is up. It'd taken two years before we could  
>build up this place and defense ourselves<br>from the worst flood.

ALLISON  
>I remember that but I have a question.<p>

PICHITCHAI  
>What's that?<p>

ALLISON  
>Why have you had many high technologies?<p>

PICHITCHAI  
>My sister was the head of Psytect Corp.<br>She was your dad's boss. You remembered?

Allison considers that.

ALLISON  
>He'd never told me or my mom about his<br>boss but only one thing I knew was he  
>worked for a foreigner.<p>

PICHITCHAI  
>Marcus Young was the best technology<br>architect for me. He'd designed many  
>technologies for us.<p>

Allison smiles so proudly but something else damages her mind, something she just notices. She turns to her father-in-law before she determines.

ALLISON  
>Who killed my dad?<p>

PICHITCHAI  
>He's an intelligence man. We'd<br>found that he tried to continue  
>Miles Dyson's work.<p>

ALLISON  
>Skynet, wasn't it?<p>

PICHITCHAI  
>Right. And his name. Jack Van Meter.<p>

ALLISON  
>He was killed.<p>

Pichitchai folds his arms over the chest and sighs.

ALLISON  
>What?<p>

PICHITCHAI  
>I think 'no'.<p>

ALLISON  
>But Stefan killed him...<p>

PICHITCHAI  
>That's not his real one.<p>

ALLISON  
>(moody)<br>What do you mean? Not real one?  
>What does it mean?<p>

PICHITCHAI  
>Jack Van Meter is Skynet project to<br>block our mind power and kill us.  
>It's only one way to kill a psychic.<p>

ALLISON  
>So...Free dead. Stefan died and<br>nothing changed.

PICHITCHAI  
>No. Not like that.(smiles)<br>Who said that he was dead.

Allison is confused.

ALLISON  
>What?<p>

PICHITCHAI  
>Forget it. I will show you something<br>tomorrow morning.

Pichitchai smiles one last time before he turns to leave. Allison turns and looks after him. She looks confused.

PICHITCHAI  
>Oh! I almost forget something.<p>

Pichitchai turns to Allison again.

PICHITCHAI  
>Ummm! Tomorrow. You need to appear before<br>royalty. His Majesty needs to meet you.

Allison exchanges the look. She is both excited and anxious.

ALLISON  
>Are you kidding?<p>

PICHITCHAI  
>No. I'm not.<p>

ALLISON  
>It's so honorable to meet with His Majesty.<p>

PICHITCHAI  
>Yes. There are just few foreigners who have<br>ever meet with His Majesty. I think you should  
>relax and prepare what you need to say tomorrow.<p>

ALLISON  
>Thank you.<p>

Pichitchai smiles again and leaves her alone in his son's room.

ANGLE ON DOOR as the door is slowly closed by Allison.

EXT. MOUNTAIN FOREST - MORNING

Cameron turns around, she sees a women hiding behind the trees. As she start to run to her and...

John follows, woman wants to run but she slips on something and falls, hits her head on the ground, she is unconscious.

Cameron and John rushes to her. Cameron kneels and removes her hair to see her face.

JOHN  
>Oh! God!<p>

Cameron stands and looks at RILEY DAWSON(S02EP02), she can believe it, but John is stunned, then she looks at john.

CAMERON  
>Riley Dawson.<p>

JOHN  
>What is she doing here?<p>

CAMERON  
>I don't know.<p>

Cameron kneels, takes her hand and searches for bar code and tattoo star.

John is surprised, he sees that there is no star or bar code.

In b.g., Ellison, Semina, Jason, Zykes and Murch run to join them.

ELLISON  
>What happened?<p>

Cameron and John turn to face them and stand up.

CAMERON  
>We've found her.<p>

They all turn to look at Riley.

ELLISON  
>Who the hell is she? Riley? Isn't she?<p>

CAMERON  
>We'll know soon.<p>

EXT. SANAM LUANG – DAY

ALLISON and GENERAL PICHITCHAI walks along the empty street in front of Wat Phra Kaew.

PICHITCHAI  
>You said that you are very bored.<p>

ALLISON  
>Yes.<p>

PICHITCHAI  
>Stefan talked to me about you. You have much<br>mind power naturally. It's very interesting.  
>I'm going to take you to practice.<p>

ALLISON  
>Where?<p>

PICHITCHAI  
>(as he points to the large open field)<br>There.

They head to an open field and public square in front of the Grand Palace, Bangkok, Thailand. There are some kind of circuses there. They look unlike circus, we can sense supernatural power from those tents. Smell like psychic practitioners are there.

INT. STORAGE TENT - DAY

ALLISON and GENERAL PICHITCHAI get in the tent as...

...A THAI WOMAN(24, 5'6", red dyed hair), with a black cape, is training hard, TWIRLS the cape, SPINS, SPINS, SPINS then FLINGS the cape which SNAPS OUT and SNATCHES an empty glass from the top of a stool and WINGS back at her hand. She's master, she looks skilled for that.

ALLISON  
>What's she doing?<p>

PICHITCHAI  
>Training to control concentration, fast<br>movement and strength together. Cape  
>is just a tool for basic telekinesis<br>training. It trains your concentration.  
>It's one of good strategies.<p>

ALLISON  
>Is it hard?<p>

PICHITCHAI  
>No. It's easy. You can try.<p>

ALLISON  
>Okay.<p>

PICHITCHAI  
>(to the woman)<br>Hey! Amm.

THE WOMAN, AMM, stops her training, turns to Pichitchai then gives him a friendly smile.

AMM  
>(in Thai)<br>"Hello, General. How are you today?  
>Who's that girl?"<p>

PICHITCHAI  
>"This is Allison Pichitchai."<p>

Amm gives Allison a small smile but her eyes keep look at him.

AMM  
>"Your new wife? She is too young."<p>

PICHITCHAI  
>"No. My son's. Wife to Stefan"<p>

AMM  
>"Wow! Good news. You've never told me."<p>

Allison starts to walk around.

PICHITCHAI  
>"Secret and mixed marriage"<p>

AMM  
>"Umm! Hey! What do you..."<p>

Allison stops at Amm's locker. Hanging from a nail is a simple BLACK CAPE. Allison takes the cape off the nail sending glistening dust into the air as it unfurls. Allison holds the fabric in his hands.

AMM (cont'd)  
>"...want?"<p>

AMM, quickly glances at Allison.

AMM  
>(to Allison)<br>Oh! No. You are really mischievous.

Allison stares intently at the black cape in her hands.

AMM (cont'd)  
>Please put it down, lady.<p>

Allison looks up to her with confusion. Allison swings her face to meet with Pichitchai.

AMM  
>Please put it down.<p>

ALLISON  
>General!<p>

Amm, turns to Pichitchai. She's pungent.

PICHITCHAI  
>"She need to train it. You are the master<br>now, Amm. Help her is like help my son."

Amm suddenly relaxes. She can't give him a bad respond. She then smiles and says:

AMM  
>"Okay. She knows the basic?"<p>

PICHITCHAI  
>"I think no."<p>

AMM  
>"Hmm! We need to test her before.<br>Just concentration test."

PICHITCHAI  
>Hmm! Okay.<p>

They both turns to Allison with their friendly smile.

INT. AMM'S TRAILER – DAY

AMM and PICHITCHAI watch Allison who training with the cape.

PICHITCHAI  
>Control your mind. Believe in mind.<br>Mind is the strongest power.

AMM  
>Okay. Let's start.<p>

ALLISON sweats. She TWIRLS the cape. AMM shouts commands.

AMM  
>Spin! Spin! Spin! And snap it!<p>

Allison FLINGS the cape which SNAPS OUT and SNATCHES an empty

glass from the top of a stool and WINGS back at Allison's hand.

Allison almost catches the glass. Allison looks up at Amm.

AMM  
>Again.<p>

Pichitchai throws another empty glass onto the top of stool. His mind controls it to fall on the stool very carefully and fast.

Allison shrugs and holds the cape up again. Gets her attention. TWIRLS THE CAPE. SPINS. SPINS. AND SPINS.

ALLISON  
>Go!<p>

Allison FLINGS the cape which SNAPS OUT and SNATCHES an empty

glass from the top of a stool.

ALLISON  
>Come back.<p>

Allison WINGS back at her hand. Definitely, she almost fails but she catches it.

AMM  
>Congratulation!<p>

Allison turns to them as they CLAP, good admiration.

ANGLE ON THE GLASS Allison glances at the glass in her hand. She looks so proud with everything she's just done. Her eyes widen.

SLOW MO:

Allison throws the glass in the air away from her. She FLINGS the cape so fast and SNATCHES it and WINGS back at her hand in a flash. She catches it at all. Complete. NORMAL;

CUT TO:

EXT. GUNNISON NATIONAL FOREST – DAY

We are nearby Copper Lake Trail, near Crested Butte in the Gunnison National Forest. John and his friends camp at the small field nearby the bank of Copper Lake Trail.

CLOSE ON THEM

Ellison, Jason, Zykes, Semina and Murch look at Riley who sleeping on a mat.

JOHN AND CAMERON

Cameron turns around after she and John just completely set up the last tent.

CAMERON  
>This place has history.<p>

JOHN  
>What's that history?<p>

CAMERON  
>The forest was created by Theodore Roosevelt on<br>June 13, 1905 as the Cochetopa Forest Reserve,  
>and named after explorer John W. Gunnison.<p>

JOHN  
>Yes. I think so.<p>

MURCH (O.S.)  
>She's waking up.<p>

John and Cameron look at each other before they both run to join them. Riley head starts to move a little and she starts to open her eyes, and she sees John, Cameron, Ellison, Jason, Zykes, Semina and Murch. She is scared.

RILEY  
>Who are you? Machines or humans?<p>

JOHN  
>Tech-Com Lieutenant Colonel Connor.<br>What's your name?

RILEY  
>I don't know but everyone called me Riley.<p>

Cameron approaches and kneels in front of her, she is all human like. John and the rest still standing and watching.

CAMERON  
>Where are you from?<p>

Riley looks afraid. She can't answer, it's like something damage her mind, something's really bad.

CAMERON  
>Riley! Just answer where you are from.<p>

Riley starts cry like she's afraid of something.

RILEY  
>(crying)<br>It's all explode. Explode.

CAMERON  
>Where's home?<p>

RILEY  
>(crying)<br>Burn. It's all burnt.

Cameron grabs Riley's face to look at her.

CAMERON  
>Please remain calm. Riley. Please<br>remain calm.

Riley slowly relaxes. Cameron releases her hands from Riley.

CAMERON  
>Tell me what happen with your home.<p>

RILEY  
>My new home. It's all explode. I live in<br>the tunnel. Eat garbage for the dinner.  
>Yesterday, if I can remember. Yesterday.<p>

CAMERON  
>What happened?<p>

RILEY  
>(nerve-racking)<br>It exploded. I remember. A T-800 came, we shot it  
>at the chest. Then it exploded. We all died.<br>I almost died. It's like the worst nightmare.

CAMERON  
>Where's your home?<p>

Cameron analyzes Riley and then looks at John. And then looks back at Riley.

RILEY  
>Kansas bunker.<p>

John starts to worry.

JOHN  
>Kansas bunker?<p>

Riley looks up to John.

RILEY  
>Yes. Kansas bunker.<p>

John's knees drop on the floor. He looks tearful.

Cameron looks back at John. She can recognize his feelings. She gently touches her hand on his shoulder.

John looks up and gives her a never-mind smile.

She relaxes and then turns back to Riley.

CAMERON  
>Riley. You need to get some relax.<br>You are safe now. We'll protect you.  
>Some of us will take you to Serrano.<p>

RILEY  
>(smiles)<br>Thank you.

Cameron smiles back.

CAMERON  
>You are welcome.<p>

Cameron and John stand up. Cameron reaches her hand to Riley.

CAMERON  
>Stay with us if you wanna live.<p>

Riley looks up to Cameron. Cameron looks more like human, she's friendly and kind, some kind of good teenage girl.

Riley takes the friendly hand in her firmly fingers together with a warm smile appears on her face.

Cameron lifts her to her feet.

ZOOM OUT as Ellison, Murch, Semina, Jason and Zykes go their several ways. John, Cameron and Riley are still there.

FADE OUT.

**END OF ACT 3**

* * *

><p><strong>ACT 4<strong>

**(The gift for you)**

INT. ANOTHER TENT – EVENING

A DOZEN OF KOREAN SOLDIERS get rest on their locations. Some sleep, some play card game and some read books.

COLONEL KIM sits alone at the closest thing to a table there is. He plays "The Knife Game" (fingers spread, knife being tapped between fingers). He's very good and very fast.

IN B.G., AMM AND ALLISON get in. Allison wears her new black cape cover her uniform. They go to stand behind him, watching with fascination.

THE KNIFE moves so fast it's almost a blur. Finally, Kim stops and turns back to them.

KIM  
>(in Thai)<br>"Who are you?"

ALLISON  
>"I'm Allison from Palmdale."<p>

Kim turns to see Allison and gives her a small smile.

KIM  
>The emissary. Allison Pichitchai, right?<p>

ALLISON  
>Yes. I am.<p>

AMM  
>General Pichitchai needs me to teach her.<p>

KIM  
>Allison, you know the knife game?<p>

ALLISON  
>I think I know. Stefan taught me once.<br>He told me you like to play it when you  
>have some free time. It trains your<br>concentration. (smiles) Yes. I know you.  
>Who else but Colonel Kim Youngchun would<br>join the Asian resistance fighters as  
>the third leader?<p>

KIM  
>Hmm! Okay. (beat) Can you try this game?<p>

ALLISON  
>I think so.<p>

KIM rises from his seat and motions for Allison to take it.

GENERAL PICHITCHAI enters the mess hall, notices Allison at the table and wanders over.

Allison has taken Kim's seat. Kim stands beside Amm, Pichitchai stands behind them. He crosses his arms over his chest, examining Allison who starts.

ALLISON

So, you tap behind the thumb and  
>between the fingers, it's right?<p>

KIM  
>That's right.<p>

Allison does the game all the way through, slowly.

KIM (cont'd)  
>That's it. (sighs) Hmm! Try faster.<p>

Allison smirks. Pichitchai looks worried.

Allison begins again. Tap Tap. Tap-tap-tap... Slowly at first, but faster and faster and...A couple of other Soldiers watch as Allison's speed increases.

Tap-tap-tap-tap-tap-tap...Faster and faster

...

Allison's knife goes almost as blurry as Kim's. Oh! That's greet. Kim gawks, happily surprised.

Pichitchai's worry grows with the speed of Allison's virtuosity. Amm's eyes widen as those soldiers start clap.

Taptaptaptaptaptaptaptap-

Allison stops suddenly, drops the knife, and stands.

ALLISON  
>Ow! Damn!<p>

Allison holds up the hand the blade had been dancing around. Down one of her fingers flows a trail of blood.

PICHITCHAI  
>Are you okay?<p>

Everyone even Allison, turns to Pichitchai. She then smiles.

ALLISON  
>I'm fine. But something's wrong.<p>

PICHITCHAI  
>What's wrong?<p>

The other soldiers lose interest and go back to their cliques.

Allison pulls out a "cloth" from a pocket and uses it to clean the blood.

ALLISON  
>I felt something's wrong. I was giddy<br>while I was playing this game.

As Pichitchai says, Allison plasters her cut by a small bandage:

PICHITCHAI  
>I think you have to get some sleep.<p>

ALLISON  
>Not yet.<p>

Allison finishes her cut before she looks up to him.

PICHITCHAI  
>Why?<p>

Allison smiles like a daughter smiles to a father.

ALLISON  
>I'm so hungry.<p>

PICHITCHAI  
>(sighs)<br>Okay, girlie. I think we can find  
>some food in my HQ.<p>

Allison nods assent.

INT. WHITE BEDROOM – DAY

SARAH gets out from the bathroom and finds Kyle Reese, now is dressed in a black formal suit. He looks very handsome.

SARAH  
>Kyle. Why?<p>

KYLE  
>You are so slow. Please wear the suit<br>very quickly. Our son is waiting.

SARAH  
>(smiles)<br>That's okay. But where's my suit?

KYLE  
>On the bed.<p>

Sarah then glances through Kyle to the bed. There's a pink WAITRESS UNIFORM. Is that her suit? You know it's not a suit.

SARAH  
>Is that what you want me to wear?<p>

KYLE  
>I think so.<p>

SARAH  
>You're really kidding.<p>

EXT. CHARLEY'S NEW HOUSE – DAY

It's the house to Charley Dixon in S02EP20.

CLOSE ON THE FRONT DOOR

Sarah and Kyle gets out. Sarah looks confused now. She turns around and sees...

...CHARLEY DIXON stands nearby a stove for a plate of tri-tip. She sees the wedding ceremony of her son behind Charley. Who's the bride? Everyone she knows and everyone she will know are there. They all look well.

CHARLEY  
>Good Afternoon, Ms. Connor.<br>Welcome to the ceremony.

FATHER ARMANDO BONILLA, standing at the podium beside the wedding arch. John Connor and his friends stand in front of the arch, waiting. Their backs turn to us. They all are formal.

SARAH AND KYLE

Kyle takes Sarah's hand, hooks his arm with hers and brings her walk through many people sitting on wooden benches. Sarah smiles as her confusion is still with her. It's all her dream. She knows that every movement.

CLOSE ON SARAH as they still walk. She turns to him.

SARAH  
>Reese.<p>

No response.

BURNETT (O.S.)  
>Sarah!<p>

Sarah stops again. She thinks that she hears her name from somewhere in those benches. She turns into that direction and tries to hurry up.

SARAH  
>What's that?<p>

BURNETT (O.S.)  
>Sarah! Sarah!<p>

Sarah releases her arm from Kyle, turns, trying to locate the direction of the call that seems to be coming from a great distance. She's unsure and scans the crowds, hoping that she can spot her.

SARAH  
>Where are you?<p>

BURNETT (O.S.)  
>Open your eyes.<p>

Sarah stops, trying to get the bearings on the call direction. It sounds very close. Sarah closes her eyes for a moment, listening, standing, frozen in time.

INT. INFIRMARY - CLOSE ON SARAH

Sarah opens her eyes and turns around. Sarah's on a bed in the infirmary. She looks dead. She's hooked up to a makeshift IV. Felicia Burnett stands left side her.

BURNETT  
>(whispering)<br>Sarah. You are up.

Sarah smiles to Felicia then her eyes swing to right and sees...

...Ellison stands there.

ELLISON  
>Are you okay?<p>

SARAH  
>Where are we?<p>

Sarah swings her eyes between Ellison and Felicia, waiting for the answer. Felicia gives her a don't-worry smile.

ELLISON  
>We are at Psytect medical lab.<br>You have slept here for a week.

SARAH  
>A week? Alex and Xander?<p>

ELLISON  
>They are dead. Machines killed them.<p>

Sarah sighs then slowly sits up, Felicia always supports her.

SARAH  
>(to Felicia)<br>Thank you.  
>(to Ellison)<br>Where are the others?

ELLISON  
>They are with our new friend.<p>

SARAH  
>Who's that?<p>

ELLISON  
>Things were changed when you'd slept.<br>You are safe from those bacterias.  
>Your blood are probably clean.<p>

BURNETT  
>They've helped you, Sarah. If we took you<br>here late, you would die.

Ellison politely reaches his hand down to her, offering to help her up from the bed.

ELLISON  
>Come with us. We are gonna meet them.<p>

Sarah, takes the dark huge hand in her fingers.

Ellison lifts her up on her feet.

They slowly take her to the door, open it before they exit the room.

INT. DAKARA SERVER ROOM – NIGHT

GENERAL PICHITCHAI sits on a chair opposite with EMMA/MONICA AKAGI. They're in the middle of a discussion.

EMMA  
>There's a problem about your land.<br>When I accessed the internet last  
>night. I found this information.<p>

PICHITCHAI, turns to look at the monitor as it shows...

INSERT MONITOR

The satellite picture of Andaman and Nicobar Islands and many islands along the curve line nearby, including Sumatra Island.

BACK TO SCENE

PICHITCHAI  
>What?<p>

EMMA  
>I found not just a picture. But I've calculated what<br>I found. Your land will be underwater in about  
>11 or 12 years.<p>

PICHITCHAI  
>How?<p>

The monitor changes and a dialog for the result from Plate tectonics' movement calculation.

EMMA  
>By many reasons support, first, your land is nearby<br>the curve along Andaman and Nicobar Islands. I've  
>compared height of every mountain underwater along<br>this curve.

The monitor shows the deep calculation for the height of the mountains underwater along the curve.

EMMA (cont'd)  
>The mountains elevate their height every year<br>and they're gonna be new islands in the future.

PICHITCHAI  
>I understand that by now. After those mountains<br>rise up, the water level in Andaman sea will be  
>elevated and then Thailand and some countries<br>nearby will be under the sea.

EMMA  
>Yes, that's right.<p>

Pichitchai stands up and looks at the monitor.

PICHITCHAI  
>What else? I think it's not that easy.<br>It must take more than this. So what else?

Monitor shows the ring of fire in Sumatra area.

EMMA  
>Second reason, your land locates nearby the ring of<br>fire. It's not very close but it's still close.  
>The plate will move so easily and then it will<br>build up many mountains under the sea. Naturally,

Monitor shows the simulated picture for the plate movement under the sea.

EMMA(cont'd)  
>...when the plates collide with each other,<br>they will sometimes bulge up and then become  
>a mountain. And the water will overflow from<br>the sea to your land and many countries nearby.

Pichitchai considers that.

EMMA(cont'd)  
>And the last reason supports, in the world now<br>we all are smite with the global warming. Ice  
>in north and south poles, is melted by rising<br>average temperature of Earth's atmosphere and  
>oceans and its projected continuation.<p>

The monitor shows the average surface temperature in the last 100 years. It's not too bad. You know that.

EMMA(cont'd)  
>In the last 100 years, Earth's average surface<br>temperature increased by about 0.8 degrees  
>Celsius with about two thirds of the increase<br>occurring over just the last three decades.

PICHITCHAI  
>Emma, can you show me the map of Thailand<br>in the future?

EMMA  
>Hmm! Watch this...<p>

INSERT MONITOR (WITH EMMA VO.)

Geographic simulation program pops up. Showing the map of Thailand in the future of about 10 or 11 years later. The areas around the southern, middle, western, and south-eastern parts of Thailand and the countries nearby sink down under the sea. It's not too like the map that **Mr. Gordon Michael Scallion** (the futurist), made up in 1978. It's different. This is just the map for Thailand and countries nearby.

(NOTE: You can see this map from this link; .net/blog/RESCUE/2010/10/24/entry-2)

EMMA(V.O.)  
>Mr. Gordon Michael Scallion the futurist<br>who had spiritual visionary, had predicted  
>about this map once in 1978. I think this<br>is very match for the sample.

BACK TO SCENE

PICHITCHAI  
>That can be a good news in the<br>different way if you notice, Emma.

EMMA  
>How will that be so?<p>

PICHITCHAI  
>If we fail protecting the world from<br>Skynet, this will be useful for some  
>of us.<p>

The monitor shows Captain Nemo's Dream Hotel.

EMMA  
>Are you thinking about the home technologies<br>for you humans live under the water?

PICHITCHAI  
>I think so. That's why we need to...<p>

MARCUS (COMM)  
>General Pichitchai sir, it's me, Young.<br>Can I come in please?

Pichitchai turns to look at Emma as she smiles to him so happily.

PICHITCHAI  
>(smiles)<br>You are genius.

The monitor becomes a common Emma System's desktop.

EMMA  
>I'm a computer. I think fast.<p>

PICHITCHAI  
>No. You are not just a computer. You are friends.<br>You can be like human in the future. Please don't  
>appreciate yourself as you're just an object.<p>

EMMA  
>Thank you, sir. It has a lot meanings to me.<p>

Emma looks at the door, controls it to automatically open, lets MARCUS YOUNG (Allison's father, like in the picture from F03EP04) gets inside.

Pichitchai slowly turns to him.

PICHITCHAI/EMMA  
>Good evening, Mr. Young.<p>

Pichitchai quickly looks back at Emma and then turns back to Marcus Young.

PICHITCHAI  
>You work late.<p>

MARCUS  
>Emma and Ms. Pichitchai need me to<br>design some interesting for them.

PICHITCHAI  
>Did you finish?<p>

MARCUS  
>I think so.<p>

Marcus walks to Emma and hands a flash-drive to her.

She takes it then walks to her server and plugs it into the port.

They all then look up at the monitor.

INSERT MONITOR

It's just the 3D CAD design of the dome.

CUT TO:

A MESS SMALL CANTEEN

We see the full-color printed 3D CAD of the dome on the wall. FREEZE ON IT UNTIL WE HEAR the sound of someone's cooking, and we hear Allison is in an end of a discussion.

ALLISON (O.S.)  
>So that's...<p>

WE PAN TO SEE ALLISON AND GEN. PICHITCHAI sitting in the center of the canteen. Allison have finished two plates of food.

ALLISON (cont'd)  
>...why you had to build up this dome.<p>

PICHITCHAI  
>Yes, that's true.<p>

FULL SHOT

The mess canteen is empty except for Allison, A THAI FEMALE COOK(42, 5'5", tan) and Gen. Pichitchai. That cook is working on her counter.

ALLISON  
>It's weird.<p>

PICHITCHAI  
>What's weird?<p>

THE COOK, finishes her latest work and starts walk to them with a plate of cooked rice with **Massaman curry**, southern Thai dish that is Muslim in origin. If you can remember, you will suddenly know that Massaman was ranked as number one of most delicious foods by CNNGo in 2011.

ALLISON  
>I have already eaten two plates<br>of food but I'm still hungry.

THE COOK, completely serves the plate in front of Allison and smiles to her so friendly. Allison smiles back.

PICHITCHAI  
>Maybe it's because of you like the food very<br>much and you've never eaten it before.

Allison shrugs, looks down to her food and starts eat it.

ALLISON  
>(chewing)<br>Mmmmm! I think so.

Allison eats it so fast. Pichitchai just looks at her and feels like she can be his daughter. He is loving in her like his real daughter. You know how it feels like for a man who needs to have a daughter but he doesn't.

PICHITCHAI  
>Hey. I think I like you, girlie. I don't<br>have a daughter and I need to have one.

Allison looks up at him.

PICHITCHAI (cont'd)  
>Won't you have a problem if<br>I adopt you to be my daughter?

Allison pauses for a while, she gently puts a spoon back to the plate, and looks in his eyes.

PICHITCHAI (cont'd)  
>I lost my son. It'll be fair<br>enough if I get a new daughter.

She smiles so friendly.

ALLISON  
>That's what I have already been. Your<br>daughter. I'm your daughter-in-law.

PICHITCHAI  
>Hmmm! That's right but please don't<br>call me 'General Pichitchai' anymore.  
>Please call me 'dad'. Can you do that?<p>

ALLISON  
>But you are...<p>

PICHITCHAI  
>We're family.<p>

Allison stops, thinks about it for a while then she looks up and smiles to him.

ALLISON  
>(It)'s okay,...dad.<p>

Allison looks so happily after that. She looks down and continues eat her food.

PICHITCHAI  
>I remember your birth date is on July 22.<br>It's two months ago. Is that right?

ALLISON  
>(chewing)<br>Mmmmm! That's right. Why?

PICHITCHAI  
>I have never given you anything on your birthday.<p>

Allison finishes that bite. She then looks up to say with her foster father.

ALLISON  
>(moodily)<br>I don't want anything.

But you know she wants. She wants her husband back.

PICHITCHAI  
>Okay. I think you should know something.<p>

That gets Allison's attention.

PICHITCHAI (cont'd)  
>It's the right time for that.<p>

ALLISON  
>What should I know, dad?<p>

PICHITCHAI  
>Finish your food. I will take you to my<br>sister's corporation, your father's work.

Allison smiles again and looks down to her food, starting to finish it.

INT. AN OFFICE – NIGHT

It's an office not much bigger than Ellison's in Zeira. It has a desk, chairs, a couch, bookcase filled with company manuals, a small table on which rests a pitcher of water and some glasses, and a private rest room whose door is just cracked open.

PROF. DR. MANIDUANG PICHITCHAI sits on the couch with a folder thick with papers next to her as SARAH CONNOR, sits down on a chair opposite her. Standing beside Maniduang is the one we can remember who she was, she's DR. MARY BUHAI PH.D. (looks grow up, S01EP01, red dyed hair, 5'7") who wears very formal Psytect employed uniform.

MANIDUANG  
>Good evening, Ms. Connor.<br>How are you today?

SARAH  
>They told you my name?<p>

MANIDUANG  
>Not them.<p>

As Maniduang's eyes flash move to the one beside her:

MANIDUANG (cont'd)  
>Her.<p>

Sarah doesn't know Mary Buhai but Mary seems to know about John Connor. Sarah notices her and doesn't who she was.

SARAH  
>Who are you?<p>

Mary Buhai steps forward and smiles to Sarah Connor.

MARY BUHAI  
>My name is Mary Buhai. I've searched about you<br>for 10 years, Ms. Connor. I graduated from Crest  
>View High School in Red Valley in 2002. I worked<br>together with learned many things. I just graduated  
>doctorate of psychology at UCLA.<p>

SARAH  
>You know my son.<p>

MARY BUHAI  
>I wasn't his friend but I interest in what<br>happened that day. What Mr. Cromatie was.

SARAH  
>You go too far and can't go back, Buhai.<p>

MARY BUHAI  
>(smiles)<br>Interesting and ball-busting.

SARAH  
>So that's why you are in the list of Skynet.<p>

MANIDUANG  
>Ms. Connor, your cyborg friend already told us<br>about the list. We've already worked on some  
>of them. Edword Sanctum and Justin Perry are<br>already safe now.

SARAH  
>I thank you for save my life. Can you tell<br>me why you helped me?

Maniduang turns to Mary Buhai who suddenly knows what Maniduang want. Mary walks to a bookcase, takes a small blue folder and hands it to Maniduang who quickly glances at the cover letter.

Maniduang hands the folder to Sarah together with talking to her.

MANIDUANG  
>This is what I can help you.<p>

Sarah takes it and opens the first page to read.

The first page is the old news from 1997 about Miles Bennett Dyson, like in S01EP01, the head line reads: "**MILES DYSON: CYBERDINE'S RISING STAR**".

MANIDUANG(cont'd)  
>You can find many data about Kaliba<br>after you read everything in this  
>folder. Good luck.<p>

Sarah closes the folder and then looks back to Maniduang.

SARAH  
>What?<p>

MANIDUANG  
>We gotta go back to Thailand.<br>That's all we can help you.

SARAH  
>Kaliba?<p>

MANIDUANG  
>I'll come back soon, Sarah. Now you need to<br>live here and search for Dyson's son. We and  
>your cyborg friend will go to Thailand.<br>We need to do something.

Maniduang stands up and reaches her hand to Sarah.

MANIDUANG  
>Nice to meet you, Sarah.<p>

Sarah stands up and takes her hand. They shake hand for a while.

INT. PSYTECT CORP HALLWAY – NIGHT

GENERAL PICHITCHAI leads Allison through the large hallway.

PICHITCHAI  
>You know what. Einstein said these once.<br>'_Buddhism has the characteristics of what  
>would be expected in a cosmic religion for<br>the future: It transcends a personal God,  
>avoids dogmas and theology; it covers both<br>the natural and spritual; and it is based on  
>a religious sense aspiring from the experience<br>of all things, natural and spiritual, as a  
>meaningful unity.<em> _If there is any religion  
>that would cope with modern scientific needs<br>it would be Buddhism_.'

ALLISON  
>Yes. He continued, '<em>A human being is part of<br>the whole, called by us 'Universe'; a part  
>limited in time and space. He experiences<br>himself, his thoughts and feelings as something  
>separated from the rest-a kind of optical<br>delusion of his consciousness. _

_ALLISON (cont'd)  
>This delusion is a kind of prison for us,<br>restricting us to our personal desires and  
>affection for a few persons nearest us. Our<br>task must be to free ourselves from this  
>prison by widening our circle of compasion to<br>embrace all living creatures and the whole  
>nature in its beauty. Nobody is able to achieve<br>this completely but striving for such achievement  
>is, in itself, a part of the liberation<br>and a foundation for inner security._'

PICHITCHAI  
>'<em>The most beautiful thing we can experience is<br>the mysterious. It is the source of all true  
>art and science. He to whom this emotion is<br>a stranger, who can no longer pause to wonder  
>and stand rapt in awe, is as good as dead:<br>his eyes are closed.'_

_ALLISON  
>I've read this. Why?<em>

_PICHITCHAI  
>Because I'm gonna show you the gift.<br>Then the point is from those quotes._

_ALLISON  
>What's it?<em>

_PICHITCHAI  
>Just think about mind. Mind power is the strongest<br>power. It can go everywhere, through anything and  
>control everything.<em>

_ALLISON  
>(interrupt)<br>And Einstein said that._

_PICHITCHAI  
>Okay. This room.<em>

_They stop in front of the door that is secured by an eyeball scanner._

Pichitchai presses the blue button. A small blue laser light shoots out of the scanner and scans his eyeball.

INT. BIOLOGICAL LABORATORY – SAME

EMMA/MONICA AKAGI sits on a chair in front of the capsule. The monitors in B.G. shows result of the deep scan for Stefan's brain, skeleton X-ray, and a lot more.

BEEP!

Then Emma glances at the door as...

ON DOOR, it slowly and automatically slides open.

PICHITCHAI leads Allison into the room. He points to Stefan's body.

PICHITCHAI  
>Look there. That's your gift.<p>

Allison turns to the capsule, her eyes widen, a half part of her is stunned as another half is excited.

NAKED STEFAN IN THE CAPSULE looks stronger and more like Stefan before he destroyed the warehouse in F03EP03.

PICHITCHAI (O.S.)  
>He's not dead yet.<p>

BACK TO ALLISON, she can't keep her tears inside her eyes. She looks surprised/happy with that. Her power comes back now.

CROSSFADE TO:

INT. MOTEL ROOM – NIGHT

It's your average motel room. Furniture that is well used, sturdy, but hardly chic. Generic art-sale paintings on the walls.

At a table sits DANNY DYSON (21). In front of him are two laptops with techie stuff on the screens. Bags and blister packs from Radio Shack (or equivalent), as well as some convenience store food, also litter the table. At one of his screen, he opens a JPEG file and looks at it. It's the same picture of Dyson's family we saw in S01EP01.

Danny says as his fingers touches the screen around his dad's and his mom's faces.

DANNY  
>I'm sorry, mom. If I won't do this,<br>the world will be destroyed by the  
>one who recover dad's project.<p>

KNOCK! KNOCK! KNOCK!

Danny suddenly turns to the door as both of his hands reach to turn off his laptop. He knows who that guy is.

While the laptops are turning off, Danny quickly grab his bag and picks a remote DETONATOR up. Danny puts on the red button.

FADE OUT.

**END OF ACT 4**

**THE END**


	3. EP7: Resurrection

.

.

.

.

TERMINATOR

THE RESISTANCE FIGHTERS CHRONICLES

.

.

EPISODE SEVEN

"RESURRECTION"

.

Written by  
>Sirapop Nualnimnoi<p>

.

.

.

This fan-produced fiction is a screenplay based on the science fiction drama television series developed for the Fox by Josh Friedman, Terminator - The Sarah Connor Chronicles. This is done in the spirit of fan fiction - to have fun and enrich the total fan experience beyond the limitations of the official story vehicle. This fan-made screenplay is being created available for entertainment purposes of the loyal fans of the show. This story follows the characters of John Connor, Sarah Connor, Cameron, Allison Young and more or all characters from TSCC after the events of the episodes "Strongest Power", "Carrots and Apples", "Ghost Whisperer", "A friend in need is a friend indeed", "Twanton" and "New hope coming" (earlier episodes of this fan-made screenplay series)

.

.

.

.

* * *

><p><strong>TEASER<strong>

INT. KALIBA OFFICE – DAY (SEPIATONE)

SUPERIMPOSE: "A YEAR AGO"

DANNY DYSON, works alone in the office. We know this is Kaliba office, we find a lot things look like in the lab of Skynet in the present. Nearby him, it's a picture of his dad.

CLOSE ON THE PICTURE

It can be possible, his dad and JACK VAN METER, they shake hand in front of the Cyberdyne hallway. This picture is from April 23, 1997. Smiling behind them is the one we should know who he is, BRYANT(A young LAB ASSISTANT rushes over to Miles Dyson, 24).

MALE VOICE (O.S.)  
>Hey! You should get some sleep.<p>

BACK TO DANNY, as he quickly turns and meets with BRYANT (36) who smiling to him so friendly.

DANNY  
>Yeah, what's wrong?<p>

BRYANT  
>You should get some sleep, Danny.<p>

DANNY  
>Not now. The platform is almost complete.<br>I need to finish it tonight.

BRYANT  
>What about your mom?<p>

DANNY  
>I lied to her that I'm going to do a report.<br>Nothing's more important than continuing my  
>dad's work.<p>

BRYANT  
>Okay. See you tomorrow.<p>

Bryant walks down to the hallway. Danny looks after him, exhales, shakes his head. He then turns back to his screen.

DANNY  
>(to himself)<br>You'll be fine, Danny.

BACK TO PRESENT AT:

INSERT FROM F03EP06

INT. MOTEL – NIGHT

RHYTHM STARTS;(I AM THE RESURRECTION (Solo by Jesus) By **Elton Smith **and **Dan Zigler****: CCLI Number: 2943019**)

At a table sits DANNY DYSON (21). In front of him are two laptops with techie stuff on the screens. Bags and blister packs from Radio Shack (or equivalent), as well as some convenience store food, also litter the table.

KNOCK! KNOCK! KNOCK!

Danny suddenly turns to the door as both of his hands reach to turn off his laptop. He knows who that guy is.

While the laptops are turning off, Danny quickly grab his bag and picks a remote DETONATOR up. Danny puts on the red button then quickly puts his laptops into his bag.

SLOW MOTION;

WEAVER (V.O./SING A SONG) (cont'd)  
>I ROSE UP IN THE MORNING. TO GLORY<br>BRIGHT. THE CHAINS OF...

Danny grabs his bag to carry on the shoulder and starts run.

EXT./INT. MOTEL – NIGHT

BRYANT and T-GEORGE knock the door.

WEAVER (V.O./SING A SONG) (cont'd)  
>DEATH ARE BROKEN. I AM ALIVE!<p>

Bryant and George turn to face and nod to each other. They suddenly know what each wants to do. This can reveal Bryant is a terminator too.

WEAVER(V.O./SING A SONG) (cont'd)  
>REACH OUT YOUR...<p>

They both kick the door open.

WEAVER(V.O./SING A SONG) (cont'd)  
>HAND AND TOUCH ME...<p>

GEORGE'S H.U.D. (WITH WEAVER'S SINGING)

T-888's display: scans the room and sees the door opposite of us, has been carelessly opened. It's not just the door that has been opened, we can see a man running so fast into a forest. He's away from us about 10-15 meters.

WEAVER(V.O./SING A SONG) (cont'd)  
>FOR I AM REAL. I COME TO GIVE YOU<br>COMFORT...

Zooms in and gets recognition of DANNY DYSON. Mission-override: "TERMINATE".

WEAVER(V.O./SING A SONG) (cont'd)  
>AND I CAN SAVE YOU.<p>

BACK TO SCENE

Then as George steps forward only one step, a heap of fire FILLS IN THE FRAME with the sound of a small explosion like .

CHORUS' VOICES  
>(V.O.SING A SONG) (cont'd)  
>FOR I AM THE RESURRECTION, THE RESURRECTION<br>AND THE LIFE. I HAVE RETURNED TO YOU. YES,  
>I AM THE RESURRECTION,<p>

FIRE. SLOW, BOILING, ENORMOUS. FILLING FRAME.

CHORUS' VOICES  
>(V.O.SING A SONG) (cont'd)  
>THAT REACHES THROUGH THE DARKEST NIGHT.<br>GO TELL THE WORLD THE NEWS.

FADE IN BLACK...

WEAVER(V.O./SING A SONG) (cont'd)  
>FEAR NOT THIS MORTAL BODY THIS EARTHLY GRAVE.<p>

...TO GEORGE'S H.U.D. (WITH JOHN HENRY'S VO.)

George's display twitches and comes back. He lies on floor, the display looks the sky. SYSTEM CONFIGURATION;

WEAVER(V.O./SING A SONG) (cont'd)  
>I KNOW THE VERY NATURE OF ALL THAT'S MADE.<br>I GO TO MEET MY FATHER AND TO PREPARE A HOME  
>FOR YOU IN HEAVEN, PLEASE COME AND JOIN ME:<p>

EXT. MOTEL – NIGHT

Both George and Bryant have lay on ground at the parking lot. Fire nearby the place and they both have cuts and burns on around their bodies, and their clothes. They both robotically get up.

CHORUS' VOICES  
>(V.O.SING A SONG) (cont'd)  
>FOR I AM THE RESURRECTION, THE RESURRECTION<br>AND THE LIFE. I HAVE RETURNED TO YOU.

They both flash electronic RED EYES.

CHORUS' VOICES  
>(V.O.SING A SONG) (cont'd)  
>YES, I AM THE RESURRECTION,<p>

They both turn to face and nod to each other. They then start run to us.

CHORUS' VOICES  
>(V.O.SING A SONG) (cont'd)  
>THAT REACHES THROUGH THE DARKEST NIGHT.<p>

They run through us.

CUT TO:

EXT. FOREST – NIGHT

Danny runs fast through the forest.

CHORUS' VOICES  
>(V.O.SING A SONG) (cont'd)  
>GO TELL THE WORLD THE NEWS.<p>

As he runs through...

LOW SHOT ...the area, his boots step on two red buttons look like some kind of TRAP CONTROLS, like mine.

WEAVER (V.O./SING A SONG) (cont'd)  
>YES, I AM THE RESURRECTION. YES, I AM THE<br>RESURRECTION. OH, I AM THE RESURRECTION.

DANNY, runs to the hut on the mountain forest nearby.

FAST PAN TO: GEORGE AND BRYANT, who run and...

SAME LOW SHOT ...step on the same buttons.

BOOM! And they fall on the ground nearby like the Bedell terminator in S02EP05.

WEAVER (V.O./SING A SONG) (cont'd)  
>THE RESURRECTION AND THE LIFE, THE<br>RESURRECTION AND THE LIFE.

CUT TO SNIPER RIFLE VIEW (MUSIC END AND BACK TO NORMAL)

as it is aimed at the chip's location of the head of Bryant who just falls. FIRE! The head splits after that. (Like when Derek killed Bedell terminator in S02EP05)

Then it is aimed to George's. FIRE! The head splits too.

SNIPER IS LOWERED. AND WE CUT TO THE SCENE

EXT. HUT – CONTINUE

CLOSE ON At the window, Danny Dyson lowers his sniper rifle, slowly sighs and relaxes then.

He turns left and walks off from the area.

EXT. MOTEL – EARLY MORNING

There are several emergency vehicles visible through the

porch in front of Danny's motel room: fire, police, EMT, etc. Many officers and people around the area polices have blocked. AGENT ALBERT AULDRIDGE, talks with the motel CLERK (36, have beard, 5'9", black hair). It's from the incident last night.

AULDRIDGE  
>Okay. You told me there were two guys<br>came here and wanted to see their  
>friends. Then you told them the room<br>number then they went there. Knocked  
>the door for a while then they kicked<br>the door open and the explosion happened  
>in a few seconds later. That an accurate<br>summation of what happened out here  
>last night?<p>

The clerk nods.

AULDRIDGE  
>Hmmm! Okay. Do you have any pictures<br>of the guy who lived in this room?

CLERK  
>I think I have one.<p>

The clerk picks a photo up from his pocket and hands it to Auldridge. Auldridge stares hard at it and then he is stunned.

INSERT PHOTO

Danny Dyson wears a cap and T-shirt, is in front of the desk, talking with the same clerk at that time, 30 August 2009.

BACK TO SCENE

Auldridge looks up to the clerk.

AULDRIDGE  
>I'll take this one. You can go.<p>

The clerk nods and leaves Auldridge.

Auldridge, turns to the room, looks inside it and starts to walk in so carefully.

DISSOLVE TO:

EXT. FOREST MOUNTAIN HUT – EARLY MORNING

The sun shines on the roof as we slowly CRANE DOWN and then reveal Danny Dyson standing in front of a big hole he has dug and there are two skinless deactivated terminators inside it.

ON THOSE TERMINATORS, thermite has already scattered on them. They are ready to be burnt.

Danny Dyson picks a lighter up and lights up. He's ready to burn them but...

AULDRIDGE (O.S.)  
>So you are Danny Dyson, right?<p>

Startled, Danny turns off a lighter and faces Agent Audridge who stands left side away from Danny about 6 meters.

DANNY  
>Who are you? Are you going to kill me?<br>Skynet sent you here?

ALDRIDGE  
>There are two parties interested in<br>you. Machines and the resistance.  
>I know your mom. She's searching for<br>you. I'm FBI Agent Albert Auldridge.

Danny relaxes then.

DANNY  
>So? What else?<p>

AULDRIDGE  
>You should them out and burn them<br>in the far sight. Here's not safe  
>place. Smoke will call both polices<br>and those things here. We should  
>go to somewhere else.<p>

DANNY  
>Where?<p>

AULDRIDGE  
>Come with me. I'll show you.<p>

Danny mulls it over.

* * *

><p>CREDIT:<p>

. TERMINATOR .  
>.THE RESISTANCE FIGHTER CHRONICLES.<p>

.

* * *

><p><strong>ACT 1<strong>

**(First Supper)**

INT. STATION WAGON – MORNING

Danny sits on the passenger side. Auldridge drives the station wagon very carefully. Auldridge talks with Danny together with drives the car.

DANNY  
>Why do you believe in Sarah Connor's<br>prediction, Agent..err? What's your  
>name again?<p>

AULDRIDGE  
>Albert Auldridge.<p>

DANNY  
>Okay. Agent Auldridge, why do you believe<br>in the apocalypse?

AULDRIDGE  
>8 months ago, I violated a law, I intercepted<br>what Sarah had been talking with the priest.  
>She didn't know I was listening. Everything<br>she said, could be the truth. (beat) Then  
>6 months ago, I met with one of them. It<br>replaced Agent Stewart and tried to kill me.

DANNY  
>How could you survive?<p>

AULDRIDGE  
>Another terminator came to help me<br>and offered me to help Sarah Connor.

DANNY  
>Where will we go after we burn those bodies?<p>

AULDRIDGE  
>Your mom wants to meet you very much, Danny.<br>We'll go to see your mom.

Auldridge turns and flashes a smile to Danny who then smiles back at him. Auldridge turns to the street and drives faster.

EXT. STATION WAGON – MORNING

The station runs away from us to the north. It heads to the Topanga canyon where is in about 12 miles away.

INT. DAKARA SERVER ROOM – MORNING

EMMA/MONICA AKAGI sits on her seat and plays a computer game by her laptop on her table. Her monitor shows that it's the game, "The Sims 3: World Adventure"(a life simulation produced by Electronic Art).

ON MONITOR, shows two windows. Left window shows a view inside the game, it's the "open world mode" of the Shang Simla.

EMMA, looks up as the door opens automatically.

SARAH CONNOR who has better look and stronger than herself in the previous episodes, enters the room with both MATT MURCH and EX-FBI AGENT JAMES ELLISON. They all look good.

EMMA  
>Good morning, Ms. Connor, Mr. Murch and<br>Mr. Ellison. How are all of you today?

Emma looks down to her laptop and hits on a key (maybe she hits on 'p')and looks up to them again.

SARAH  
>We are well. What are you doing, girlie?<p>

EMMA  
>I'm playing a computer. The Sims 3 with the<br>expansion pack, world adventure. I have just  
>downloaded them from the internet last night.<br>Do you want to play any games or any simulators?

SARAH  
>No. We don't play games. Did you find anything<br>more about Kaliba?

EMMA  
>No, not today. I need to play my game.<br>Today is Sunday. Your god told you that  
>Sunday is the holiday of everyone. No<br>work. Just relax.

Sarah feels her anger but nothing will be better if she's angry. Sarah relaxes and smiles to Emma.

SARAH  
>Okay. You win. You're right. Today is<br>holiday. I'm sorry for disturb you.

Sarah and her friends turn to leave. Ellison and Murch exit. But when Sarah is exiting, Emma calls her and gives her a clue:

EMMA  
>Maybe you should go to the church.<p>

Sarah stops and turns to face Emma.

EMMA (cont'd)  
>Commune with your god or confess your sin.<p>

Sarah eyes toward the monitor as it shows the picture of the church from S01EP01.

Sarah understands the clue and gives Emma a small smile before she leaves and the door closes behind her.

INT. ALLISON'S TENT – NIGHT

SUPERIMPOSE: "2023"

CLOSE ON A TABLE IN A TENT.

ALLISON YOUNG(15) serves a dinner, she and her new friend, STEFAN(20), both have big pieces of rat steak and an instant noodle sandwich(a kind of sandwich that doesn't have bread. You can make this "sandwich", instant noodle that has been halved and placed on and under a piece of cheese) on their plates. Allison wears a filthy nightgown (it's most beautiful she can find after J-Day). Stefan wears his own royal Thai army uniform.

ALLISON  
>I can't find any bread here.<br>Can you eat this sandwich?

Stefan looks down to his plate for a second then looks up to face her and gives her a small smile.

STEFAN  
>This is more good than bread.<br>It's more delicious. Good.

ALLISON  
>That relaxes me a lot, Major.<p>

STEFAN  
>Rat steak is very delicious but<br>I don't think to eat it everyday.

ALLISON  
>I think that too but we have no<br>choice. We can't find any good  
>food in our land. What about yours?<p>

STEFAN  
>(smiles)<br>It's not bad then. We Asian joined together  
>and built up our base. We have taken time to<br>feed pigs, cows, chickens, and a lot more  
>we can. That's why we Asian have better<br>quality life.

ALLISON  
>Major, will you help my people better?<p>

STEFAN  
>I can but not everyone.<p>

ALLISON  
>What do you mean?<p>

STEFAN  
>I can't help all your people. You need<br>to grow friendship with alliance groups  
>around the world. This is the way we<br>Asian are gonna do.

Allison smiles at him, completely melting him.

ALLISON  
>We have ships and subs but we have no one<br>to drive them. Can I travel on your ship?

STEFAN  
>I'll ask my dad for that.<p>

ALLISON  
>Thank you.<p>

STEFAN  
>Let's eat them.<p>

Allison smiles again then looks down to her plate and starts her meal. Stefan doesn't start yet, he just looks at her. Her motion unexpectedly charms him like she spells him by special magic.

Allison looks up and notices that he's looking at her fascinatingly. Allison smiles to him, and Stefan seems to be lost in himself.

ALLISON  
>Earth to Stefan.<p>

Startled, Stefan looks up at her.

STEFAN  
>What?<p>

ALLISON  
>Why don't you eat them?<p>

STEFAN  
>Oh! Sorry.<p>

Stefan starts his meal. Then Allison continues her meal.

LATER, THEY have already finished their food. He looks up to her and sees a few pieces of food hanging on her hair.

STEFAN  
>Hey! Allison, you are very filthily<br>aren't you?

Allison frowns.

ALLISON  
>What?<p>

STEFAN  
>Just few things hanging on your hair.<br>Maybe you need to get them off.

ALLISON  
>Where are they?<p>

STEFAN  
>Left side, about three or four centimeters<br>down from your ear.

Allison smiles and tries to get them off but she always miss them. Stefan softly laughs at her.

STEFAN  
>Ha ha ha, you always miss them.<br>(beat) Come on. Let me help you.

Allison stands up and leans her head to him. He gently pulls them out of her hair together with keeps look on her face, her hair, her beauty. His breath becomes faster then.

She looks up and they look each other in the eyes so deeply they can have seen to each other's soul. They freeze in that manner for a moment before they slowly close their eyes and lean to kiss each other.

As he gets too close her lips(very very close), he suddenly pulls himself back. Allison then opens her eyes and looks at him. Fear is on her face now.

STEFAN  
>I'm sorry, Allison. I shouldn't do that.<p>

Stefan starts to walk off.

ALLISON  
>(as she runs to him and stops him)<br>Please don't go. It's my fault.

STEFAN  
>No. It's not yours, it's mine.<p>

ALLISON  
>But you just...<p>

STEFAN  
>I should control myself. I'm sorry.<p>

Stefan then cuts her off, leaving her so quickly. Allison sighs and smiles and chuckles. She then falls herself on her mattress.

Allison exits her tent.

EXT. PERRY'S CAMP – NIGHT

FULL SHOT

The big temporarily camps are nearby Copper Lake Trail, near Crested Butte in the Gunnison National Forest. A few guards in ragtags, with weapons (not plasma weapons) guarding the camp.

Allison exits from her tent and heads to Stefan who sits at the small field nearby the bank of Copper Lake Trail. He's looking up to the sky, getting all attentions at the stars.

TRACK AFTER Allison who stops behind Stefan.

STEFAN  
>I'm sorry about that, Allison.<p>

ALLISON  
>Nothing to be sorry about.<p>

STEFAN  
>It's wrong. Honestly, at that time,<br>I wanted to kiss you. I'm sorry.

ALLISON  
>That's just your emotion for a short while.<br>And at least, you could stop it before it's  
>too late. In fact, you are so affable.<p>

Allison sits down beside Stefan. Turns to him and pushes playfully against Stefan's shoulder. Stefan turns and smiles so friendly, Allison does the same back to him.

STEFAN  
>Thank you. Hey! Allison Young, can we become friends?<p>

ALLISON  
>I think it will be good if we become friend.<br>In fact, I don't have many friends.

Stefan looks up to the stars again. She looks up follow his sight.

STEFAN  
>(point to the constellation)<br>I think that is the wonderful. I have seen  
>that once when I was young, very young.<p>

Allison looks at the constellation.

ALLISON  
>Virgo the virgin.<p>

STEFAN  
>Yes. I have seen it with my mother.<br>She taught me about how to identify  
>the stars or even constellation.<p>

ALLISON  
>And your mother, she's...<p>

Stefan tilts down and looks to the bank of Copper Lake Trail.

STEFAN  
>Dead. She is shot by a guy.<p>

Allison looks at him with a little compassion.

ALLISON  
>I'm sorry.<p>

STEFAN  
>(some tears fall)<br>It's alright.

Stefan turns to her and wipes all tears. He smiles then.

STEFAN  
>I was born on July 26, 2003.<br>What about yours?

ALLISON  
>July 22, 2008.<p>

STEFAN  
>Have you ever watched jugglery or magic?<p>

ALLISON  
>No. And I don't believe in any magics.<p>

STEFAN  
>Not that kind of magic. (beat) Keep look.<br>I'll show you something. It's my talent.

Stefan turns around for while until he finds a brushwood away from him about ten meters.

LOW ANGLE AT THE BRUSHWOOD

Stefan now stares hard at it. He then reaches his hand toward. Allison looks at it like him.

It takes a few seconds before the brushwood starts to move and then flies onto his hand. Allison looks very surprised. She's stunned for that.

STEFAN  
>How is my talent, Allison?<p>

Allison looks at both the brushwood and Stefan. She looks up and down as her eyes widely opens.

ALLISON  
>How can you do this?<p>

Stefan then controls it soar in the air around his hand. Allison looks more confused. She can't find any tricks in this show, he can naturally do it.

STEFAN  
>The most powerful power isn't nuclear,<br>missiles, rockets, plasma, laser, or  
>any bombs. It's your mind, humans' mind.<p>

ALLISON  
>And how can you...?<p>

STEFAN  
>My family is well-known as the psychic family.<br>Our brains are natural strong. We'd lived our  
>lives as a common family. It'd been like that<br>until our enemy showed up. The machines, they  
>try to kill me. I don't know why.<p>

Allison understands that.

ALLISON  
>Can you teach me for that?<p>

STEFAN  
>I can but it'll take a long time.<br>Every human has mind power but not  
>everyone can control it.<p>

ALLISON  
>I know that.<p>

STEFAN  
>And we psychics can't read all humans' mind.<p>

ALLISON  
>Because humans have different brain.<p>

STEFAN  
>Yes. Like your brain.<p>

Allison frowns.

BACK TO PRESENT AT:

INSERT FROM F03EP06

INT. PSYTECT CORP HALLWAY – NIGHT

_ALLISON PICHITCHAI and GENERAL PICHITCHAI, just reach the area in front of the door that is secured by an eyeball scanner._

Pichitchai presses the blue button. A small blue laser light shoots out of the scanner and scans his eyeball.

INT. BIOLOGICAL LABORATORY – SAME

EMMA/MONICA AKAGI sits on a chair in front of the capsule. The monitors in B.G. shows result of the deep scan for Stefan's brain, skeleton X-ray, and a lot more.

BEEP!

Then Emma glances at the door as...

ON DOOR, it slowly and automatically slides open.

PICHITCHAI leads Allison into the room. He points to Stefan's body.

PICHITCHAI  
>Look there. That's your gift.<p>

Allison turns to the capsule, her eyes widen, a half part of her is stunned as another half is excited.

NAKED STEFAN IN THE CAPSULE looks stronger and more like Stefan before he destroyed the warehouse in F03EP03.

PICHITCHAI (O.S.)  
>He's not dead yet.<p>

BACK TO ALLISON, she can't keep her tears inside her eyes. She looks surprised/happy with that. Her power comes back now.

FULL SHOT

Allison looks so surprised. Pichitchai steps toward her as Emma steps to stand beside him.

ALLISON  
>Oh! My god. Who's that?<p>

PICHITCHAI  
>My son. Your husband.<p>

ALLISON  
>He's just a clone. He's not Stefan.<br>He can't replace him.

PICHITCHAI  
>Not like that. The body is just the<br>platform for his mind, his soul.

ALLISON  
>What does it mean?<p>

EMMA  
>That body...<p>

Allison turns to face Emma.

EMMA (cont'd)  
>...is a clone but the mind is real.<p>

ALLISON  
>What?<p>

PICHITCHAI  
>His old body is still alive when we found<br>him. He lost many organs, legs, arms, and  
>a lot more. We saved his life by hydrogen<br>sulfide. Then we brought him here and cloned  
>a new body for him. His old body had sent<br>most his mind power away from us to you.

ALLISON  
>And he thinks he's dead.<p>

The trio turn to face each other.

PICHITCHAI  
>You saw him?<p>

ALLISON  
>Yes. He was with me until he just disappeared<br>this morning.

EMMA  
>We're sorry about that we need him back.<p>

PICHITCHAI  
>We activated the electromagnetic wave signal<br>away around to call him back to his body after  
>we'd known that the Japanese subs had already<br>got in the territorial waters.

ALLISON  
>That's why he said that he'll come back soon.<p>

PICHITCHAI  
>I understand what you said, Allison.<br>Now it's time for you to get some sleep.  
>We'll implant the memories and mind into<br>the clone tomorrow, to let it become him.

Allison doesn't smile she can't do anything. She looks confused but her mind tells her to get some sleep. She needs to clear things out of her head. Allison pauses for a while before she turns to leave them.

As she steps to the door, Emma and Gen. Pichitchai look after her. Pichitchai looks worried about Allison.

PICHITCHAI  
>Allison!<p>

Allison stops and turns back to her father-in-law.

ALLISON  
>(smiles)<br>Like you said, dad. I need to get some sleep.

Pichitchai gives her a small smile.

Allison, smiles back, turns and leaves them. They both then turn back to look at Stefan's clone.

SMEAR TO:

EXT. GUNNISON NATIONAL FOREST – NIGHT

TRACK ON: Allison and Stefan walk together through a dark way in the forest. They look happy.

ALLISON  
>So your land is flood. How can you live there?<p>

STEFAN  
>Aunt Emma is genius. She and her architect have<br>designed the dome for us, for Asians. (beat) We  
>built the dome cover Bangkok before the water<br>level rose. We have our HQ in the city.

ALLISON  
>What about the war in your land?<p>

STEFAN  
>Skynet built its core complex in Russia.<br>There are now about 2 or 3 factories in  
>Asia. We're gonna cut them out. It's<br>really hard. We have not much people.  
>We've joined together for our sharing.<p>

ALLISON  
>Sharing?<p>

STEFAN  
>Yes. Ms. Young, we've shared everything we can<br>share. Our men, weapons, technologies, foods  
>cultures, theories, knowledge and resources.<p>

ALLISON  
>And you said you Asians have harvest years and<br>cultivate years. What are they?

They both stop at a small glade.

STEFAN  
>Cultivate years are the years we have to manage<br>with foods before it's empty. We grow and feed  
>in those years. Harvest years are the years we<br>harvest, hunt and eat the production we've  
>already waited for a year.<p>

ALLISON  
>Hmm! I think I understand that.<p>

STEFAN  
>We are so far from camp, Allison.<br>We should go back there.

ALLISON  
>Okay. As your wish.<p>

Stefan and Allison turn back to the same way they came from. They walk for a few steps before Stefan stops, Allison stops too.

ALLISON  
>What's wrong?<p>

STEFAN  
>Raise your hands, Allison.<p>

IN B.G. NOW, three filthy MEN, MAN #1(18), MAN #2(16), and MAN #3(19), all with their shotguns get closer both of them, aiming their guns to Stefan and Allison at the chests.

MAN #1  
>Raise your hands.<p>

Stefan and Allison both raise their hands up. Stefan telepathises to Allison.

STEFAN (V.O.)  
>Allison, do what they need. We need<br>to meet with their leader

Allison looks confused with that, she suddenly turns around and sees that Stefan has just telepathised her.

MAN #2  
>We've been watching you. You two look<br>cleaner than us. Send us everything you  
>have or we'll kill both of you.<p>

ALLISON  
>Come on, guys. The machines are the enemy.<br>We're all on the same side...

STEFAN (V.O.)  
>Calm down, Allison. They will take us to<br>meet with their leader. They can be our  
>good soldiers.<p>

MAN #2 AND MAN #3, walks to the way in front both Allison and Stefan. MAN #3 looks Allison up and down.

MAN #3  
>This girl is very beautiful. Maybe our<br>leader like her. Take them.

MAN #3 walks toward the way he came. Two men catch Stefan and Allison by handcuffs then take them to that way.

**END OF ACT 1**

* * *

><p><strong>ACT 2<strong>

**(Past of Weaver)**

INT. SERVER ROOM – DAY

A room looks very like the Ziera basement, basically one server computer, one chair, largest monitor are showing event online from John's room, and one PREVIOUS FUTURE JOHN HENRY who has been using Cromartie's body. He is looking at the monitor.

Then his monitor changes to show Savannah's photo in a playground as background.

EXT. DEEP WATER OIL PLATFORM – DAY

A big liquid metal snake slithers into the platform's small breach.

INT. DEEP WATER OIL PLATFORM – DAY

The same small meeting room in S02EP19, basically two guards in the way are two T-888 endoskeletons with plasma rifles on their each left hand, CAPTAIN TAMM (S02EP19), a captain of John Henry's T-600s in front of the door connect to the server room.

A big liquid metal snake slithers in from an air void.

Tamm walks toward it.

TAMM  
>Welcome back.<p>

That mimetic poly-alloy flows and coalesces until it becomes T-1001-SUMMER GOODNOW (S02EP19), who faces Tamm. T-1001 speaks in Goodnow's techno voice unless otherwise indicated in a dialog block.

T-1001  
>Captain Tamm.<p>

Tamm steps back for 2 meters.

TAMM  
>John Henry is waiting for you.<p>

T-1001  
>(smile)<br>Thank you, Captain.

T-1001 walks to the room then gets in. Captain Tamm follows.

INT. SERVER ROOM – DAY

John Henry is still looking at his largest monitor. T-1001 gets in then Captain Tamm follows her.

JOHN HENRY  
>Welcome back.<p>

T-1001  
>They welcomed me uncouthly. Humans will<br>never be under your command.

TAMM  
>Mr. Henry, what have you been<br>watching for minutes?

JOHN HENRY  
>John Connor's room.<p>

T-1001  
>John Henry. Look, I told you before.<br>Humans will disappoint you.

T-1001 silvers into a big snake then slithers off very fast.

INT. SERVER ROOM – LATER

John Henry is still looking at young Savannah Weaver's picture (the same age in S02EP21) on his largest monitor. He's crying.

The door opens. Captain Tamm comes in very hurriedly. John Henry turns to him immediately.

JOHN HENRY  
>What happened?<p>

TAMM  
>John Henry, sir. We've got a problem.<p>

JOHN HENRY  
>What?<p>

TAMM  
>Skynet sent its forces here.<p>

JOHN HENRY  
>How many are they?<p>

TAMM  
>About fifty terminators. We gotta go now.<p>

JOHN HENRY  
>But I can't go anywhere.<p>

Tamm sends John Henry a T-888 chip. John Henry receives it then stares at that Tamm.

INT. DEEP WATER OIL PLATFORM – EVENING

The same small meeting room in S02EP19. A female T-600 and two T-600 endos and plasma rifles in their each hand are shooting their gun to a group of T-888s who are trying to access John Henry's room.

FEMALE T-600  
>Fall back! Fall back!<p>

They fall back slowly. A John Henry's T-600 endo is shot on its head by a T-888 from opposite side.

T-888s nearly get close John Henry.

FEMALE T-600  
>Protect the room.<p>

Another John Henry's T-600 endo is shot on its head. Only female T-600 is fighting now.

FEMALE T-600  
>Oh, no.<p>

Then that T-600 is shot on her head and falls down. A few Skynet's T-888s who survive from the battle, stop at the door.

T-888s aim each their plasma rifle to the door and are ready to shoot.

INT. SERVER ROOM – EVENING

John Henry walks to his largest monitor then dismantles it down. After that, he picks his XM1014 plasma shotgun from the wall. Tamm walks to the door and is opening the door but three plasma shots pierce in the room and attack on that Tamm's body. One on chest, one on shoulder and one on right side head. He falls down.

Three T-888s enter. John Henry shoots them immediately. His plasma shot can pierce through them very easy. All T-888s' heads were attacked and they then fall down.

INT. SERVER ROOM – LATER

John Henry falls back in the room. He has some scars and some cuts on his face. He falls back then corners at a wall. Four T-888s with plasma rifle on their each hand, enter and aim to John Henry.

JOHN HENRY  
>(shout)<br>You son of a bitch.

T-888s are ready to shoot John Henry but someone comes and that one is T-1001.

T-1001 (O.S.)  
>I are not fighting alone, John Henry.<p>

From debris of a wall, mimetic poly-alloy flows and coalesces until it becomes T-1001, who faces them. She transforms her arms into long knives then cuts two of them down. A T-888 shoots a plasma shot to her head immediately. That shot attacks on T-1001 but it doesn't affect anything on her. She regenerates herself.

T-888 #1  
>What the hell are you?<p>

T-888 #2  
>Why don't we know you?<p>

The index finger on T-1001's hands silver and lengthen into spikes what are trained on two T-888s' each head.

T-1001  
>Go to hell.<p>

Those spikes lengthen more and stab both of them very fast. T-1001 lifts her right leg then point it to a corner of wall that has a big flabby cord. That leg silvers and lengthens into a spike and stabs it on that cord immediately. Two T-888s shock for a minute then fall down after T-1001 releases them and that cord.

T-1001  
>The feeling's mutual.<p>

T-1001 turns to John Henry who is standing up.

T-1001  
>Are you okay?<p>

**At that time...**

A T-888 with plasma shotgun (should be M3 Plasma or something), appears and shoots to T-1001's head.

That plasma shot attacks on T-1001's head then pierces through to John Henry who stands facing T-1001. John Henry's chip is attacked before he falls.

T-1001 turns to it immediately as she is regenerating her head. She silvers her hand and lengthens into a spike then stabs on its head at the chip location. She then liquifies, flows onto the floor, forms into a snake, and quickly serpentines out.

Two T-888s stand up then look around. They don't see T-1001 here. They pick their own plasma rifle then run out.

EXT. DEEP WATER OIL PLATFORM – NIGHT

The platform is bombed by something. Goodnow – snake swims off the platform.

EXT. ROCKY MOUNTAINS, HELICOPTER CRASH SITE - DAY

SUPERIMPOSE: "EASTERN SIERA MOUNTAINS 2005"

CATHERINE WEAVER (32-ish) wakes up as droplets of drizzle land on her face. She tries to lift her head, but a sharp pain shoots through her spine. She tries again more slowly. She lifts hear head a few inches, enough to asses her condition. Her legs are lying on the ground in grotesque angles. She sees her left arm, there is nothing down from her elbow, just two bones protruding upward. Her right hand seems to be where it is supposed to be. She drops her head back on the cold ground. A minute, that seems like eternity, passes.

Catherine tries to turn her head left. She can turn in enough to see helicopter wreckage. She then turns her head right. A few pieces of metal lie scattered in her field of vision. She tries to turn her head back to face upward, but she can't. Despite her effort, she feels so weak that she almost passes out.

Catherine's vision blurs and the perception of colors is reduced to primaries. She notices a metallic, blue object some distance from her. It is vertical, as if sticking from the ground.

WEAVER  
>(whisper)<br>A wing?

Catherine tries to focus, the object changes shape and seems to be moving closer.

WEAVER (CONT'D)  
>(whispers)<br>Angel.

The object is starting to take a shape of a human form. At the distance of 3 meters, Catherine can't comprehend what she is seeing. She sees herself. Her vision improves a bit, the color palette is still reduced, but she can perceive more than primary hues.

WEAVER  
>(very weak voice)<br>What happened with me?

She sees herself kneeling down and taking her right hand. She doesn't know if she is so cold or her kneeling one is so cold.

WEAVER (CONT'D)  
>(whisper)<br>How can I be in two places? Who are you?

T-1001-WEAVER  
>I'm your friend. I'm sorry.<p>

WEAVER  
>(whisper)<br>Lachlan? Where is he?

The T-1001-Weaver shakes her head no. Catherine feels her consciousness slipping from her. She tries to focus and it takes all the strength she can summon.

WEAVER (cont'd)  
>Please take care of Savannah.<p>

T-1001-WEAVER  
>Savannah Weaver?<p>

Catherine Weaver nods.

WEAVER  
>(whisper)<br>Promise me. You'll take care of her.

T-1001-WEAVER  
>I promise you. I'm sorry for your loss.<p>

Catherine Weaver smiles weakly then lies lifeless on the ground. T-1001-Weaver reaches toward the neck and checks the vitals with her fingers. She then lifts Catherine as if she was a feather and walks toward the forest edge.

T-1001-WEAVER  
>Your name will be a heroine's name in the future.<br>Catherine Weaver. And now I'm Catherine Weaver.

200 meters in the woods, T-1001-Weaver converts her arms into spades and starts digging. She carefully separates the grassy top and moss from the soil.

BACK TO PRESENT AT:

INT. SAVANNAH WEAVER'S LIVING ROOM – DAY

SUPERIMPOSE: "Two days ago."

SAVANNAH WEAVER sits quietly beside CATHERINE WEAVER, on a sofa. Weaver breaks the silence.

WEAVER  
>I can take you there one day<br>after the war ends.

SAVANNAH  
>But why you didn't tell me<br>earlier? When I was a kid?

WEAVER  
>I didn't want to cause you pain.<br>You are grown up, and enough time  
>passed. I felt that I owe it to you<br>and decided that the time is now.

SAVANNAH  
>What happened next?<p>

WEAVER  
>I covered the grave with the grass<br>and moss to make it look like before.  
>Then I went back to the crash site<br>and waited.

SAVANNAH  
>Weren't the rescuers surprised<br>that you had no injuries?

WEAVER  
>I did have some made up scratches and cuts.<br>And a partial amnesia. Yes, they were  
>surprised, but they were constantly<br>repeating how lucky I am. Don't ask  
>me about vitals. They checked my vitals.<br>It was easy. I was afraid they'd take me  
>to a hospital, so I told them to get me<br>to L.A. and that I'll contact my family  
>physician right away.<p>

Savannah is quiet again. Then she turns toward Weaver and gives her a warm hug like she's her real mother.

SAVANNAH  
>You've been a good mother like my real<br>one. You are better than my real mother.

WEAVER  
>That sounds good.<p>

SAVANNAH  
>I decided that you need time to learn how<br>to be one. It was not easy for me, sometimes  
>I really missed my old mom terribly. But I<br>could see you trying. Now you're a mother  
>to me and a lot of resistance cyborgs.<p>

WEAVER  
>I'm sorry, Savannah.<p>

SAVANNAH  
>For what?<p>

WEAVER  
>When you was kidnapped by Sarah Connor,<br>I didn't try to help you but I stayed  
>with John Henry at Zeira. That's very<br>bad for a mother.

Savannah smiles to Weaver and then gives Weaver a gentle kiss on the forehead.

SAVANNAH  
>Never mind, mom. I understand.<p>

WEAVER  
>That was very selfish. I always cared<br>only John Henry and myself. I didn't  
>care anything about you, Savannah.<p>

SAVANNAH  
>Like I said, mom. I understand.<p>

Weaver smiles so warmly, it's warmer than every time she smiled in the past. We can find human in her smile, Savannah can find that too. Weaver gently strokes Savannah's cheek.

WEAVER  
>I'm so proud of you.<p>

Weaver pulls Savannah into her embrace.

WE PULL OUT, looking to the half-open door JOHN HENRY is watching at them.

CLOSE ON as John Henry smiles so proudly. He then slowly closes the door.

SAVANNAH AND CATHERINE WEAVER

Weaver pulls Savannah out from her embrace. Smiles motherly. And strokes Savannah's hair.

WEAVER  
>I love you, my daughter.<p>

SAVANNAH  
>I love you too, mommy.<p>

INT. ZEIRA BASEMENT – DAY

This basement looks like the basement we saw in S02EP22. It's the same one. JOHN HENRY, in this time, controls his server by wireless connection like Emma.

John Henry sits at the chess table and plays the chess match with a female TOK –- T-DEBBIE (S02EP21, Savannah's nanny).

DEBBIE  
>John Henry, I think I can win this match.<p>

JOHN HENRY  
>Let's play.<p>

Debbie starts the game by takes her first left side pawn toward for two squares.

LEVEL SHOT ON THEM(the chess table is lower than our camera now)

John Henry moves his unit forward. We don't see what unit he has just moved. They move their units as they talk.

DEBBIE  
>There are many things I still don't<br>understand, John Henry.

JOHN HENRY  
>What's that?<p>

DEBBIE  
>I think a lot about Savannah. I still don't<br>know why I have to protect her.

BEEP! BEEP!

DEBBIE  
>What the hell?<p>

Both John Henry and Debbie turn to look at the monitor as the radar screen shows up with warning.

INSERT RADAR SCREEN

Skynet's massive weapon units are nearby the city. They come from the east. Radar screen shows that they are in about 2 miles away from LA city.

BACK TO SCENE

FULL SHOT

John Henry and Debbie stand up and keep look on the monitor.

JOHN HENRY  
>Debbie, report Weaver about this<br>and prepare our T-ZM army to fight  
>against our enemy.<p>

Debbie leaves from the chess table and gets out.

FOCUS ON John Henry who looks worried about that.

EXT. TENTS – DAY

These tents are located on the big glade in the forest. Many guards with shotguns. Look like guerrilla band.

TRACK ON Three men who lead Allison and Stefan to the big hut at the center among those tent.

A BOY(16-ish, 5'9", brown hair) wears a bandana, gets out from the hut with another the man in same suit(32, 5'10", brown hair)- THE GUERRILLA LEADER.

MAN #1  
>We found them in our glade, sir.<p>

THAT 16-YEARS-OLD BOY, the bandana comes off revealing JASON GROSS (F03EP03).

JASON  
>Why were both of you there?<p>

STEFAN  
>We have to check the perimeter.<br>We both are Tech-Com soldiers.

ALLISON  
>We are gonna come back to our base.<br>Please let us go. Or if you want  
>better lives, please come with us<br>and join our resistance.

JASON  
>That's all my father's decision.<p>

THE GUERRILLA LEADER, steps forward and faces them.

LEADER  
>What's your name?<p>

Stefan looks proud as he smiles so friendly. He's got a plan.

STEFAN  
>My name is Warapop Pichitchai.<p>

LEADER  
>Sorry. Wara...what?<p>

That leader looks very friendly.

STEFAN  
>Warapop Pichitchai. You can call me<br>Stefan. It's my nickname.

LEADER  
>Good to see the resistance here. We fight and rob<br>the grays when they come through our territory.

STEFAN  
>That sounds good.<p>

LEADER  
>Not well. We have no choice. Sorry to bring you<br>here but my people need help. My son have to  
>survive. I need him to be a soldier.<p>

STEFAN  
>I know your name. Major Gimli Gross.<p>

Gimli is stunned as the three men step away from Stefan and Allison. They then aim their guns to only Stefan.

Allison can't do anything, she turns around and her face displays a little fear.

GIMLI  
>Why did you know my name?<p>

JASON  
>Tell him or we will shoot you.<p>

STEFAN  
>I know it from your mind, your brain.<br>I can't read it a lot but I understand  
>how you feel like when you are betrayed<br>by your teammate.

Gimli looks more stunned.

SLOW MO:

Jason turns to Gimli at the same time a bullet runs from the way behind Allison to Gimli at the chest.

ALLISON  
>What the hell?<p>

They all turn back and see...

...a T-600 with a glock on its left hand.

T-600'S H.U.D.

Like T-800's display in T1. The display gets recognition of Allison Young. It compares her with a picture of Cameron in the desert. Mission-override. TERMINATE.

BACK TO SCENE

T-600, aims the glock up to Allison.

Stefan is faster, he grabs the shotgun from a man nearby him and shoots it at the head. His another hand pulls Allison aside as another hand aims the gun and fires again.

BACK TO NORMAL.

Stefan fires at it, fires, cocks the slide, fires until he empties the shotgun as in b.g. Jason and his friends hold his dad back in the hut.

Allison grabs another shotgun up, fires at the T-600.

ON T-600, as the shotgun blast hits its chest, arms and shoulders and he FIRES, simultaneously.

Allison and Stefan run to hide at the jars nearby the hut.

CUT TO:

INT. HUT – DAY

Those friends sit around as Jason tries to aid his dad with first aid kits. Gimli breathes faster as he's still bleeding out. Jason tries hard but the fate of his dad, it will be end here.

GIMLI  
>(weakly shout)<br>Jason! Jason! Go help them.  
>Join the resistance.<p>

JASON  
>(crying)<br>But dad, you are...

GIMLI  
>The bullet attacks nearby the heart.<br>I can't bear it for a long time.  
>Promise me. Join the resistance.<br>Fight with my last name. Go!

Gimli raises his hand up and strokes his son around the face. His eyes nearly closes. Gimli's face is white; his eyes are wide open. Breathing comes in quick gasps.

JASON  
>(crying)<br>I promise.

GIMLI  
>Damn it.<p>

And Gimli's gasping stops. Jason closes his eyes then turns to a shotgun nearby, grabs it up and quickly gets out with manly tears and fearlessness.

His friends rest the body down on the floor, grab their guns up and follow.

EXT. HUT – NIGHT

Allison and Stefan hide behind the big jar. A T-600 that now has cuts on face, slowly rises up. Stefan seems understand something.

STEFAN  
>Allison. He's dead.<p>

ALLISON  
>How can you know?<p>

STEFAN  
>I'll explain later. Let's kill it.<br>Then we'll come back to the camp.

Allison and Stefan then rise up and fire T-600 at the head. They fire, duck, and fire again.

T-600, fires back and blasts the jar.

Stefan and Allison both jump out.

T-600, fires after them. The bullet attacks on Allison's left shoulder before she cries painfully and falls on the ground.

Stefan suddenly fires back. T-600, is shot at the left eye. Stefan tries to fire again but he has emptied the gun.

Stefan grabs a stone up and throws to it.

STEFAN  
>Hey! You son of a bitch. I'm here, Major<br>Warapop Pichitchai. Kill me. Stupid metal.

T-600, aims its gun to Stefan and fires. Stefan stops the bullets before they reach him. Allison stands up, her hand holding her wound. She turns around and finds a shotgun, she then goes to it and grabs it up. She fires to the T-600 only one shot before she lets the gun fall down.

T-600, quickly jumps to Stefan and punches him away from Allison. Stefan's back collides with a tree, he falls and becomes unconscious.

ALLISON  
>(screaming)<br>Stefan!

Then it heads to Allison who tries to run away. It kneels down and grabs her neck.

T-600'S H.U.D.

SUBJECT IDENTIFICATION: "ALLISON YOUNG", mission-override. TERMINATE. In b.g., Jason and his friends get out with shotguns.

BACK TO SCENE

It's almost late but it's not. A bullet attacks on its head at the chip, accurately. A T-600 automatically releases and falls lifeless.

Allison turns and sees Jason. His friends now hold Stefan up.

JASON  
>You both are soldiers. You should be<br>stronger than this.

Stefan looks up. He's still conscious.

STEFAN  
>Thank you, Jason.<p>

Jason turns to face him as he walks toward Allison. Stefan looks at Allison's shoulder.

STEFAN  
>Are you okay?<p>

Allison looks at him, gives him a small smile.

ALLISON  
>It's just a small wound.<p>

STEFAN  
>I remember that many kings in the history<br>died from a small wound.

ALLISON  
>Just need to pull the bullet out<br>and stop the blood loss.

Both of them turn to Jason.

JASON  
>You both can go.<p>

STEFAN  
>Jason. If you want to join us, we'll<br>always welcome you at the camp.

JASON  
>I will. You need to go. I'll follow<br>you there myself.

Stefan smiles so friendly as his hand wraps Allison and helps her walk off.

FADE OUT.

**END OF ACT 2**

* * *

><p><strong>ACT 3<strong>

**(Altar of love)**

STEFAN(V.O.)  
>Help me please, Allison.<p>

FADE IN:

INT. ALLISON'S NEW ROOM - DAY

Allison, Amm and Pichitchai enter the room. They all look tired. Amm and Pichitchai stop in front the door as Allison steps to her bed. Allison turns back to both Amm and Pichitchai, her eyes brimming. Proud. Relieved. Happy.

ALLISON  
>(proudly)<br>His majesty is very kind and sharp-sighted.  
>I'm so proud. It's very proud for a teenage<br>who likely have an audience with royalty.

PICHITCHAI  
>That's why we love our king. His majesty is<br>the classless king. (sighs and then smiles)  
>I think you need to get some relax. You may be<br>very tired this morning. (smiles again)I'll  
>give you your most valuable gift this evening.<p>

Allison smiles more happily. She thinks about it and displays hopefulness on her face. Her heart soars.

ALLISON  
>Stefan will be proud of me, dad.<p>

AMM  
>Hurrah! Allison. Good luck to you.<p>

ALLISON  
>Thank you, master.<p>

Amm smiles so proud before she gets out.

PICHITCHAI  
>I should get out and let you get<br>some sleep, daughter.

ALLISON  
>That's good.<p>

PICHITCHAI  
>Bye.<p>

Pichitchai then walks off and closes the door.

Allison exhales with pride, happiness and joyfulness. She jumps and falls her back on the bed. She tumbles on the bed so happily. When she stops, her hair collapses cover her face. She blasts it off her face then.

FOCUS ON ALLISON, she pulls a pillow to her and rests her head on it. Her smile fades as her eyes look tired but still keep open. It seems she doesn't want to sleep but her body need some relax.

ALLISON  
>That's right. You will be proud of me, Stefan.<p>

Allison thinks about the past as every picture of her life and Stefan appears like a blur frame under the scene.

Allison smiles again but her smile is so tired.

STEFAN (V.O.)  
>Help me please, Allison.<p>

Something slowly forces Allison's eyes closing.

She fights the drowsiness for a while and then eyelids block out her eyeballs.

EXT. MCGUIRE GUNNERY RANGE - RUINS - DAY

Everything's burn. The big hole and a heap of smoke are in front of us. Allison stands there. She looks around and calls for her husband:

ALLISON  
>Stefan!<p>

Allison walks closer the hole but still keeps away from it.

STEFAN (V.O.)  
>Allison, help me please.<p>

The voice echoes around the ruins. She can't find where the voice is from but she knows he's here.

STEFAN (V.O.)  
>Help me, Allison. It's too much pain.<p>

ALLISON  
>Stefan, where are you?<p>

Allison speeds up a bit, but her right side is hurting she touches it with her hand and looks at the hand. It's bloody. She slows down, she can't catch her breath. She touches her side again and the bleeding seems to stop-his hand is clean this time.

STEFAN (V.O.)  
>Allison, it's too much pain. Help me.<br>Help me. Allison, I love you.

Stefan is somewhere in the ruins or maybe under the hole and Allison stops every now and then, to look for him. Her tears start flow from both of her eyes.

ALLISON  
>Stefan. Sweetie. Please tell me where<br>you are. I'm here. Where are you?

STEFAN (V.O.)  
>I love you, please. Don't get in here.<br>I'll be safe, Allison.

Allison turns around as there's smog forming around her way. It blocks out her way. Allison stops again. She thinks that she hears her name from somewhere in the smog. She turns into that direction and tries to hurry up.

ALLISON  
>(crying)<br>Tell me where you are, Stefan.

STEFAN (V.O.)  
>Good bye Allison. I love you too.<p>

Allison turns, trying to locate the direction of the call that

seems to be coming from a great distance. She's unsure and scans the smog, hoping that she can spot him.

ALLISON  
>(crying)<br>I love you please. I love you Stefan  
>and you love me. Stay with me, Stefan.<p>

STEFAN (V.O.)  
>Allison! Alise! Please. Please go back.<p>

It sounds a bit louder, she may be getting closer.

ALLISON  
>Stefan. I can't live without you.<br>I lost everybody I love. I lost my  
>dad, my mom, my sister. I don't want<br>to loss you. Please.

Allison looks around but does nor see him. She again starts walking, quicker this time. She walks until she finds the edge of the big hole in front of her.

ALLISON  
>I know you are here. Please tell me where<br>really you are. Stay with me or I will  
>jump into the big hole in front.<p>

STEFAN (V.O.)  
>Please, Alise. I love you. That's enough.<p>

ALLISON  
>I have no other way to keep you near me.<br>I need my mighty psychic back. I need you.

Allison doesn't hear anything more.

ALLISON  
>Okay. You need this yourself.<p>

Allison closes her eyes.

ALLISON  
>(whispering)<br>I love you.

She inhales deeply and then jumps into the big hole...

TIME CUT:

EXT. MOUNTAIN MEADOW - DAY

...Allison falls on the field in the middle of an idyllic hilly meadow, its lush grasses sprinkled with flowers. Beyond is the shimmering expanse of the lake. Several other lakes stretch to the horizon. The warm air is full of little floating puffballs.

Allison sits up, she looks up and turns to look around the sky. What the hell? She looks confused and disappointed.

ALLISON  
>(angrily)<br>What the hell is this?

STEFAN (O.S.)  
>Allison, I'm here.<p>

Allison turns to the direction where the voice is from.

ALLISON'S POV.: She turns around and stops at the ALTAR and roses around it. And the 5'8" MAN lying on it. Allison moves toward the altar. In a few seconds, she reaches the altar. Looks down at the man. He's STEFAN even more handsome in seeming death.

CLOSE ON ALLISON, her tears flow again.

ALLISON  
>O my love, my husband, Death, who did<br>this to you? Who killed you?

Allison kneels close, as if not wanting to wake a sleeping Stefan. Unconscious tears fall from her eyes as she whispers.

ALLISON  
>I love you, Stefan.<p>

STEFAN (V.O.)  
>I love you too.<p>

Stefan's body slowly rises up in the air. Allison looks up after him. This will remind us of the story of Jesus' resurrection. That body seems to resurrect like Jesus but it doesn't.

STEFAN'S BODY, rises up to the sky and appears in the light.

ALLISON  
>Jesus!<p>

Roses fall from the sky to her.

STEFAN (V.O.)  
>Wake up and tell everyone the news.<br>I am the resurrection and the life.

Allison looks proud as her face is full of tears. As Allison opens the palm of her hand, the most beautiful red rose falls on her palm. Allison then looks up to the sky and smiles happily.

ALLISON  
>Stefan. I'm so proud of this.<p>

STEFAN (V.O.)  
>Help yourself, help me. I love you.<br>Allison. I always have. See you again  
>next life.<p>

ALLISON  
>See you again too, Stefan.<p>

ALLISON'S POV.: she looks down at the rose. It's very beautiful. Red color and the sun shines. Dewdrops on it, reflect the sunlight then the beautiful light enters her eyes. This rose has no thorn along its stem. Perfectly.

IN FRONT OF ALLISON:

Allison grasps it firmly in her hand and holds it up against her chest. Her heart resurrects. She can feel her heart-rate elevation as her breathe becomes normal.

BOY VOICE (O.S.)  
>Mom!<p>

Startled, Allison turns and...

CUT TO ALLISON'S POV.: she looks down and sees a five-years-old boy of about 3'8", smiling to her. The boy looks like Stefan but his eyes look more like Allison. Boy's lip shape is like Allison's. This may be her own boy.

FROM THE POINT BEHIND THE BOY, as Allison friendly smiles to him. Allison crouches down to the boy's level.

ALLISON  
>Hey! Where are you from, boy?<p>

THE BOY  
>Mom.<p>

Allison strokes the boy's hair, smiles at him with kindness. Allison doesn't notice the boy.

ALLISON  
>Who are you?<p>

The boy gives her a warm embrace. She has never felt it before. She likes it. Allison can feel family from this boy when she hugs him back. Allison smiles more happily. Kisses the boy at his cheek then gently pulls him out.

ALLISON  
>You are very pretty. What's your name?<p>

The boy turns back.

THE BOY  
>Dad.<p>

The boy runs from Allison. Allison stands up and looks after the boy with a friendly smile on her face.

CUT TO ALLISON'S POV.: he runs to his dad at far away sight. Allison can't see his face because this picture is very blur. It's blur until the boy reaches his dad who holds him up on his strong arms. The dad looks familiar, he smiles to Allison. We can realize his identity-STEFAN (30).

STEFAN  
>Hey! Sittipong. You are as bright as a button.<p>

Allison is stunned as her happy face looks more happily. This picture in her dream, may be the real someday. She thinks so.

Stefan and Sittipong, look at her and give her family smile. It's like when her parents smile to her.

STEFAN  
>Allison.<p>

Allison puts her hand over her mouth and gasps. Her tears fall with both proud and fear. Stefan walks toward Allison and always smiles to her.

Allison lowers her hand down and quickly wipes all tears before he reaches her.

ALLISON  
>I'm so proud of you, Stefan.<p>

STEFAN  
>I love you, Alise.<p>

Stefan puts his son down on ground before the son runs away to the lake.

Both of them look at the boy so proudly. It's a while before they turn to face each other.

ALLISON  
>I love you too.<p>

Allison wraps her arms around his neck and pulls him closer her. He leans to her as they both close their eyes and then give each other a control of the passionate kiss. Feeling like strawberry and chocolate are mixed with each inside the mouths. Allison slowly lowers her hands down along to his chest and then gently pulls him out together breaks her kiss.

ALLISON  
>I'll come back and wait for this future.<br>I'll wait until it becomes real someday.

Stefan then turns to the boy and runs to him.

STEFAN (V.O.)  
>That's what you have to do.<p>

INT. ALLISON'S NEW BEDROOM - EVENING

ON ALLISON who wakes up on her chair. The room is dimly lit by the outside lamps. The wall clock shows 17:30 in large red LED letters(in Thai 17:30 means 5:30 PM.). Allison gets up.

ALLISON  
>Oh! Stefan. I miss you so much.<p>

TRACK AFTER ALLISON.

Allison turns around and goes to the refrigerator. She opens it and looks inside it. There are just a glass bottle of milk and a note paper nearby.

Allison grabs a note up and reads.

ALLISON  
>(reading)<br>This is the best I can find for you. It's buffalo  
>milk. It's not so delicious as cow milk. Buffalo<br>milk has lower cholesterol than cow milk. More  
>proteins. More important minerals and more vitamin<br>A. Empty the bottle and go to meet Amm. She will  
>take you to the spirit lab. Have a nice evening.<br>From your beloved father.

Allison puts the note into her pocket, grabs the bottle up and cracks open the bottle lid.

LATER, she has just emptied it. She puts it on the floor beside the refrigerator.

ALLISON  
>(to herself)<br>It's really not delicious.  
>It's very fishy, Allison.<p>

Allison walks toward the door. She opens it and then exits before she closes the door behind her.

INT. PERRY'S TENT – DAY

SUPERIMPOSE: "2023 – PERRY'S CAMP"

FULL SHOT

GENERAL PERRY meets with Stefan, Allison, and Jason in the tent looks like his HQ. The emissaries are introducing Jason to Perry.

ALLISON  
>General Perry. This is Jason Gross.<br>His dad is dead when we got to him  
>last night. He and his friends need<br>to join our force.

Perry turns to Jason and gives him a friendly smile before he turns to look at both Allison and Stefan again.

PERRY  
>We always need people to join our force.<br>(to Jason) Gross. I will let you and your  
>people join the resistance after you go<br>with Allison and this Colonel. Protect  
>them to London on the ship of General<br>Pichitchai. Agree or not?

Perry reaches his hand toward Jason who smiles and takes it.

JASON  
>Agree.<p>

Perry and Jason shake hands.

FADE TO:

INT. SPIRIT LAB – NIGHT

FULL SHOT.: The lab looks like biological laboratory. The light is turned on and reveals everything in the room. The room is full with supercomputers and monitors. Two hi-tech beds(look more like **SOME KIND OF** **ALTARS**) at the center are surrounded by tubes, cords, and devices. The heads of those beds are in front THE SOUL TRANSFER MACHINE. It looks like human's brain but it's bigger and has many tubes and cords which are connected with those supercomputers and two chrome skull caps which are connect with the heads of THE RECIEVER'S and THE SENDER'S. We'll call this machine 'Myalo'. The myalo has LED around its circumference.

**NOTE:** Myalo is Greek for mind.

The chrome skull caps are worn onto both Stefan's clone body's head and Stefan's old body's head. Connect their brains with each. The old body is handicapped. No left arm. No legs. Bruises. Cuts. Burns. Unconscious. Alive. Everything's like his cells have never grown or even healed anything. His look is ugly, burnt and bruised but we still can identify that he's STEFAN. There are two gas tanks nearby both of them. The cannula tubes bring gas to their noses. We should know that the gas is hydrogen sulfide.

**NOTE:** Hydrogen sulfide can stop metabolism. It can stop growing rate of cells.

PAN TO THE DOOR AS IT AUTOMATICALLY OPENS. Both GENERAL PICHITCHAI and EMMA/MONICA AKAGI walk in through door.

TRACK AFTER THEM as they walk toward the center of the lab.

PICHITCHAI  
>I still don't know what I'm gonna do, is<br>the right thing to do.

EMMA  
>We'll just move his mind into the new body.<br>Nothing more than that.

PICHITCHAI  
>It'll break the rules of nature.<p>

EMMA  
>We have no choice. This is the way.<br>It's only this way for our peace.  
>You told me you need the new world.<p>

PICHITCHAI  
>That's right.<p>

EMMA  
>It wouldn't be like that if you lost<br>your best warrior. And we won't bent  
>the rules of nature. We'll just use<br>the rules of nature to build the new  
>rule for eternal life in the future.<br>We are going to change the world.

They both turn to look at Myalo.

PICHITCHAI  
>Myalo. I don't think it's ready.<p>

EMMA  
>It's ready, sir. With high transfer rate<br>and high security transmission, we can  
>move him into his new body within a few<br>minutes. It's up to his mind, his reaction,  
>his desire.<p>

PICHITCHAI  
>If he doesn't want to get in the new body.<p>

EMMA  
>He'll die within a few minutes.<p>

Pichitchai turns to Emma again.

PICHITCHAI  
>How?<p>

EMMA  
>Body needs soul to control it. In addition,<br>we have not enough hydrogen sulfide to save  
>his life anymore. So if he needs dead or<br>something else distract him, he's dead.

That answer is very fearsome. But Pichitchai has no choice. He sighs then.

PICHITCHAI  
>Very dangerous but there's no choice.<p>

EMMA  
>(smiles friendly)<br>What will happen if we finish this project?  
>(a beat) We'll find the second chance for<br>every human in the future. You humans will  
>have two or maybe three lives before die.<p>

PICHITCHAI  
>Why just two or three?<p>

EMMA  
>Soul is software. Someday it will be damaged<br>and can't be moved into new body anymore. Soul  
>is very intelligence but it has vulnerability.<p>

PICHITCHAI  
>What vulnerability?<p>

EMMA  
>It will change his mind. Don't know good or bad.<br>Maybe the brain won't react and will turn alive  
>to be dead. I'm sure that we can transfer his soul<br>without problems like those.

Pichitchai walks carefully to Myalo, takes a look at it and nods assent. He turns to Emma.

At the door, as it automatically opens and lets AMM and ALLISON get in the lab.

AMM  
>She's come, sir.<p>

Allison looks worried. Both Emma and Pichitchai turn to look at Allison as Amm turns and leaves before the door closes behind Allison.

EMMA  
>Come on, Allison Young.<p>

ALLISON  
>Stefan!<p>

ALLISON'S POV.: She flashes turn to look at her husband's bodies, both old and new bodies. She especially looks at the old body. Allison walks toward Stefan's old body.

LOW ANGLE

Allison starts slowly kneels down beside the ALTAR OF STEFAN'S OLD BODY. She looks sad. In b.g., Pichitchai and Emma look at her. Emma does an acknowledging head tilt.

ALLISON  
>Stefan. This may be so hurt...<p>

Allison looks down and grabs his hand up and holds it in her hands nearby her right cheek. Controls it to caress softly on her right cheek. Her tears slowly fall.

ALLISON (cont'd)  
>I'm sorry for let it be like this.<p>

Her tears fall on him as she holds his hand forward her and then she kisses on it.

ALLISON  
>You mayn't be hurt you like this<br>anymore. I promise you, my love.

Allison puts the hand down on his chest.

CLOSE ON ALLISON as she looks down and holds her hands with his on his chest.

ALLISON  
>I won't let you get hurt like this anymore,<br>Stefan. Please resurrect for me. Please  
>resurrect. Everyone's waiting for you.<p>

A hand enter frame, gently stroking her cheek. She wakes up to see –- STEFAN'S SPIRIT. Sitting on the edge of THE ALTAR nearby his old body.

Allison looks up and grins at him as the tears of happiness fall.

STEFAN  
>See you again next life, Allison.<p>

Stefan looks to his old body out of the frame.

STEFAN  
>I need to go, Allison. I see the light<br>in front of me. It's very bright in front.

Allison inhales, stands up on her feet and wipes all tears. She then looks at the new body.

FULL SHOT

Pichitchai and Emma walk toward Allison, resting their hands on her shoulders. She turns and grins at them.

EMMA  
>Let's start.<p>

ALLISON  
>Do it.<p>

Emma and Pichitchai flash smiles to Allison just before they move to different places. PICHITCHAI moves to the left side control nearby the big supercomputer. EMMA moves to the right side control nearby the big supercomputer too.

AT PICHITCHAI, he types a lot of keys on the control in front of him and turns to look at the Myalo.

AT EMMA, she hits on the big green button on her control before she quickly hits on the red one and then the blue one. She turns and look at the Myalo.

EMMA  
>Everything's ready.<p>

FOCUS ON THE MYALO as the LEDS light electric blue and the myalo is turned on.

FADE OUT.

**END OF ACT 3**

* * *

><p><strong>ACT 4<strong>

**(The Resurrection and the Judas Iscariot)**

INT. HALL - BONILLA'S CHURCH – DAY

Like in S02EP01, FATHER ARMANDO BONILLA (S02EP01) now walking around the stage in front of Jesus statue on the wall together with reading his bible.

SOUND OF THE DOOR OPEN.

Bonilla turns to the door and sees THE LARGE MAN(30, blond hair, blue eye) getting in the hall and looking at him.

LARGE MAN  
>I'm here to find father ARMANDO BONILLA.<p>

Bonilla closes his book, looks up and gives him a friendly smile.

BONILLA  
>I'm...<p>

Just before he tells all he wants to tell, SEMINA CRUEL and SARAH CONNOR walk in the hall. They both aim their shotguns toward the LARGE MAN.

BONILLA (cont'd)  
>...here. Father Armando Bonilla.<p>

That gets the large man's attention.

BLAM! Just as Bonilla falls down with fright.

ON THE LARGE MAN'S BACK, he was shot at around the back of the chest. The bullet falls down, showing the small area of coltan endoskeleton that is burnt from the shot. His skin quickly heals itself, revealing him as a T-950.

FATHER ARMANDO BONILLA, quickly moves and hides behind the spring beside him.

T-950, turns to Sarah and Semina as they start fire at him again.

Sarah and Semina fire at the T-950, fire, cock the slides, fire again. BLAM! BLAM! BLAM!

As they still fire:

SARAH  
>Father, please run out of here<br>if you want to live.

BONILLA, suddenly does as she asked, he runs into the kitchen.

SLOW MOTION:

ON T-950, as the shotgun blast hits his arm, T-950 picks a .45 up from under his jacket, aims and fires.

SARAH, gets all bullets at around her chest and her abdomen. No blood flows. No scream or even no CRY OF PAIN. Sarah lies lifeless-like on the ground.

Semina screams as she falls back together with firing, cocking the slide and firing. She reaches the wall and hides behind it as the T-950 still fires at her.

Semina exhales and leaves our frame.

NORMAL;

AT T-950, he tilts his head doubtfully for a few seconds and starts to walk through Sarah's dead body toward the wall.

TRACK ON T-950, he reaches the wall and quickly turns to look behind the wall.

T-950'S H.U.D.: High-technology display with full-color vision and red frame user interface, SCANS AND PANS IN THE DARK WAY. Change into IR Mode, continues scanning around as the T-950 walks and scans around his way.

EXT. BONILLA'S CHURCH – DAY

T-950 walks out the church as he looks down to the floor.

T-950'S H.U.D.: Traces bring us toward the car.

T-950 walks toward the car then...BEEP! BEEP! He turns back. Too late. The car explodes. BOOM! The explosion sends the T-950 in the air and falls on the street.

AS THE UNLUCKY T-950 SLOWLY RISES UP, A YELLOW-PAINTED CAR THAT DRIVES IN SO FAST, CRASHES HIM OUT with it and it drives staggeringly for awhile and stops.

**A BENZ** drives fast, trying to stop but it's too late, it crashes on the car.

MANY CARS CRASH WITH THEM and there's a chaos on the street.

WE DOLLY OUT AND CUT TO:

INT. HALL - BONILLA'S CHURCH – DAY

E.C.U. AND LOW SHOT AT SARAH'S DEAD BODY

The boots walk from the kitchen and stop beside her. Sarah opens her eyes and slowly reaches her arm up to...

WE TILT UP, revealing SEMINA who takes her arm and then...

FULL SHOT

...she helps Sarah up to her feet.

SARAH  
>We gotta go. Where's the priest?<p>

SEMINA  
>He's safe. Murch takes him on his motorbike.<p>

SARAH  
>Let's go before it comes back.<p>

Sarah looks down, grabs her shotgun up and nods assent at Semina.

They both then run into the kitchen.

FADE TO:

EXT. CITY RUINS – DAY

The city and all military bunkers are fleshly destroyed by hydrogen fuel cells. Some buildings collapse.

ELLISON (O.S.)  
>What the hell happened?<p>

JOHN (O.S.)  
>Riley said that it was like T-800<br>but it could destroy these places  
>by hydrogen fuel cells. Weird.<p>

CLOSE ON AT THE MOST WRACKFUL PLACE - KANSAS BUNKER.

John, Ellison and Cameron stand there, keep looking into the dark way inside the bunker.

CAMERON  
>So why are we here now?<p>

JOHN  
>50 percent: Martin is still alive.<p>

CAMERON  
>And 50 percent: Martin is dead.<p>

Semina and Murch run from another way and join the trio. The trio turn to face them.

ELLISON  
>Murch, you found anything?<p>

Murch nods. That gives John hopefulness.

MURCH  
>(to John)<br>Colonel Bedell is still alive  
>but John, you have to hurry up.<br>They can't save him for a long.

JOHN  
>Please tell me where he is.<p>

MURCH  
>Hummerhead bunker.<p>

John suddenly runs out. Cameron first runs after him. The rest look at each other and start follow them.

FADE TO:

INT. INFIRMARY – HUMMERHEAD BUNKER – DAY

The only "guest" of the infirmary at the moment is Martin Bedell, who lies on a cot. His body is bandaged but only just his face isn't bandaged. He looks dead.

In f.g. Now, MEDICS AND PARAMEDICS are working on many patients. It's a chaos morning.

A medic walks and stands beside Bedell, she looks like a teenage girl but her real age is adult. She looks to the vital monitor nearby the head of the cot.

CLOSE ON, as the bandana comes off, revealing the medic - LAUREN FIELDS (S02EP12). Lauren looks at the monitor as it shows that Bedell's vital sign is critical. As she starts to walk off, Bedell grabs her hand by his right hand.

Startled, Lauren turns back to him and gives him a small smile.

BEDELL  
>(weakly)<br>How are my people?

LAUREN  
>We won't talk about it. You will die faster<br>if you gets more stress. You need to relax.  
>John Connor is coming.<p>

SYDNEY FIELDS, reaches them form the chaos. She looks down at Bedell as her face shows hopefulness.

SYDNEY  
>John Connor has come.<p>

John and Cameron come in the scene. John suddenly kneels down beside Bedell who weakly smiles at him. Lauren turns to look at Cameron and becomes stunned, considering her for awhile. Cameron looks Lauren up and down before she smiles friendly.

They smile to each other for awhile. They both turn to Bedell as he starts talking to John. While Bedell is talking, he always coughs and chokes. Bedell talks so weakly.

BEDELL  
>John. It'll be fine. You need to hurry up.<br>We all were attacked by Skynet force two  
>days ago. We can destroy all HKs and most<br>of their army. Machines stop attack in the  
>night yesterday. They sent a T-800 here and<br>we tried to capture them. One of us shot  
>them at the chest. I could hide under my<br>hole under my bunk but it was too late.  
>The explosion was very powerful.<p>

JOHN  
>You were only one who survived?<p>

BEDELL  
>Then when I couldn't stand or even got<br>out from my hiding place, I heard a gray  
>talking to a tin can. They need to kill<br>Perry. The battle just deluded most of  
>us here. Now there are just minor people<br>protect Serrano. You need to move out  
>now. It's only just you who can stop the<br>tin can. I'll be okay. I just need to  
>get rest. Go.<p>

John nods assent before he stands up. Bedell sighs and closes his eyes just before his vital sign slowly falls until he dies peacefully. John looks tearful. We can't help but only one thing we know, 'it's very common that everyone died for the human race'. John sighs and turns to Cameron who turns to face him. For the best infiltrator, Cameron displays sadness on her face.

CAMERON  
>I'm sorry. But you know the truth.<br>Everyone died for...

JOHN  
>...John Connor. Previous Derek said<br>that once.

CAMERON  
>No. They didn't die for you, they all<br>died for all humans, died to save most  
>of our mankind.<p>

John then swivels his face and stops at Lauren. Cameron steps toward her and starts making known:

CAMERON  
>(to John)<br>John, this is Lauren Fields.  
>(to Lauren)<br>Lauren, this is John Connor.

LAUREN  
>I remember. He's Sarah's son, right?<p>

Lauren reaches her hand to John. Sydney stands groggily but she keeps her eyes on the hand.

John considers for a few seconds before he takes that hand.

JOHN  
>I am.<p>

They shake their hands then. It takes awhile before Lauren releases her hand and turns to Cameron. She looks at her so friendly.

LAUREN  
>Thanks for saving my life and<br>my sister's life, by the way.

SYDNEY  
>What?<p>

Sydney looks at her elder sister. She then turns to look at Cameron who smiles at her.

CAMERON  
>So you are Sydney Fields.<p>

SYDNEY  
>How the hell?<p>

LAUREN  
>Sydney, this girl was a cyborg that<br>I told you she saved your life when  
>you were in mom's uterus.<p>

Sydney relaxes and exchanges the look.

SYDNEY  
>I'm glad to meet you here. I and<br>my sister have waited for you.  
>I'm so proud now. I owe you my<br>life. (smiles) Thank you.

CAMERON  
>(smiles)<br>Never mind.

John walks to Cameron as Ellison, Murch and Semina walk in and join them. They look hurried.

ELLISON  
>John. Zeira Center was burnt.<p>

JOHN  
>How about the Weavers?<p>

ELLISON  
>No one's there. Weapons and production<br>tools were moved out. All guards are  
>deactivated. Their chips were destroyed<br>by plasma blasts.

JOHN  
>We need to reach Serrano as fast as<br>we can do. Skynet forces are driven  
>out but Skynet's real plan isn't here.<br>(a beat) It's Perry. They need to kill  
>General Perry.<p>

ELLISON  
>You know what if Perry's dead, you will...<p>

JOHN  
>I don't want it that way. I've never wanted<br>it. I just want my peaceful life.

ELLISON  
>But your mother needed you to...<p>

JOHN  
>However, I don't care anything. (beat)<br>Besides, I don't want this fight, Ellison.  
>If there was any time machine in this future,<br>I would absolutely come back and stop J-Day.  
>(beat) I don't want to be the leader. So we<br>need to save Perry and let him continues  
>being the leader of the resistance.<p>

John runs out then Cameron follows. Ellison exhales hard and then turns to look at dead Bedell.

DISSOLVE TO:

INT. SPIRIT LAB – NIGHT

FULL SHOT

Allison sits squat on the floor in a polite attitude besides Stefan's new body. The tubes on those bodies' noses have been pulled out. Emma and Pichitchai stand behind her and keep looking on the monitor that showing both Stefan's old body and new body in two frame Windows-form-like application. His old one's heart-rate slows down as his new one's heart rate is stable but it's still slow.

EMMA  
>It can be good if nothing distracts<br>the mind transfer.

ON MONITOR, a Windows-form-like dialog box pops up with title, text and process bar. The title displays '**SOFTWARE IS TRANSFERING**'. The text and process bar show progression, such as **CEREBRUM'S MEMORIES MOVING.**

EMMA (O.S.)  
>Mind and memories transfer start.<br>All properties and methods work well.

PULL OUT TO THEM. Allison looks up to the monitor, gets attention on it and feels worried about it. Her hands hold each with some anxiety. It takes awhile before the old body's vital sign stops and the work on monitor, is finished in a split second later.

EMMA  
>Finish!<p>

Everyone relaxes but not at all.

Stefan's new body reacts. The body starts convulse. WARNING! WARNING! WARNING! The shows red alert as his pulse goes faster and faster. It's so fast. Allison quickly stands up and looks around. Her face displays solicitude. She then turns to Pichitchai who turns to EMMA. Emma turns to face him as her face displays confusion.

PICHITCHAI  
>Emma, what's wrong?<p>

EMMA  
>Some body parts resist his mind.<br>It could be possible but I have  
>never...<p>

ALLISON  
>What are you saying?<p>

EMMA  
>Some body parts don't follow his program.<br>The heart twitches. The autonomic nervous  
>system doesn't respond. His brain tries<br>to control but...

ALLISON  
>What the hell then? Quickly!<p>

EMMA  
>I'm sorry but he's gonna die again.<p>

Allison shakes her head. She turns back to Stefan's body and she can't help him. The light dims as the system is twitched.

MYALO shocks, LED explodes and smoke rises from it. Emma looks around. She is confused as the alert warns louder.

PICHITCHAI  
>What the hell is going on?<p>

EMMA  
>It's going bad. His body, his mind<br>and his brain fighting with each.  
>It has to be<p>

Allison's tears come out.

ALLISON  
>Please Stefan.<p>

She tries to catch him, helps him better but nothing's useful.

ALLISON  
>Fight with them. You have to be<br>master of all body parts.

The Myalo stops working and explodes. The chrome explodes too. Allison quickly protects her face by her arms.

The scraps from the small explosion attacks and cuts about her arms(just small cuts). Allison lets out a CRY OF PAIN and falls on ground. Pichitchai suddenly grabs her shoulders and helps her up to her feet.

PICHITCHAI  
>Allison, are you okay?<p>

ALLISON  
>I'll be okay but Stefan.<p>

They both look up to the monitor which always shows Stefan's vital sign. His heart quickly slows down and the heart fails in a few seconds later.

ALLISON  
>Stefan!<p>

SLOW MOTION:

Allison shakes herself off Pichitchai and starts run to her dead husband.

Allison reaches Stefan. She suddenly kneels down beside the STEFAN'S ALTAR.

BACK TO NORMAL;

Allison looks up to the monitor and looks down to Stefan. Her tears fall and starts cry. Oh! God, **why hast thou forsaken her like this?**

ALLISON  
>Stefan, please fight with them. Control them.<br>They all are your body parts. You must be the  
>master of them. Mind must be master of the<br>body. You taught me. Why you forget what you  
>said to me, what you taught me.<p>

Pichitchai walks to her.

ALLISON (cont'd)  
>Please resurrect for me. I can't live without<br>you. You gave me the hope. You promised me.  
>'I will come back' you said it yourself.<p>

TOP SHOT ON THE ALTAR.: Allison bends down and cries on Stefan's abdomen. No one can't help but as we slowly ZOOM IN:

MANIDUANG (V.O.)  
>Open your head, Stefan, and<br>you'll be resurrected.

The voice over seems to be heard by Stefan's mind.

CLOSE ON STEFAN'S HANDS ON HIS CHEST.: Some fingers beckon a bit.

LOW ANGLE.: As a strong soldier, Pichitchai can't cry and can't help Allison better, he sighs, doesn't take the sadness to his heart. Pichitchai looks up then.

WE PULL OUT as both Pichitchai and Emma are confused. Their eyes swing around. They step back away from Allison and Stefan with confusion as the sounds of alert and all alert signs are gone.

ALLISON (O.S.)  
>(crying)<br>I need you. Everybody needs you.

ON MONITOR, the vital sign comes back as the alerts completely stop. His heart-rate comes back and goes up to be normal.

CLOSE ON ALLISON FROM BACKWARD.: She still cries on him but still doesn't notice his heart.

STEFAN (O.S.)  
>I need you too, Allison.<p>

Allison stops crying and turns to Stefan who sits up and smiles to her. Allison suddenly smiles and wipes all tears by her hand.

ALLISON  
>(surprised)<br>Stefan.

Allison quickly gets to him and gives him an amorous hug. She whispers to him then:

ALLISON  
>Do you know how long I have felt sad?<p>

Stefan slowly raises his hands up and hugs her back.

STEFAN  
>I know it's very long. I know.<p>

Stefan hugs her firmly in his embrace; he gently kisses on her hair, then her ear and then whispers to her:

STEFAN  
>I'm sorry. We won't leave each other<br>anymore, Allison. If you die, I'll die  
>after you.<p>

Allison gently pulls out of his embrace, a tear falls from her eye as she warmly smiles to Stefan who gently raises his finger up to touch her tear trickling down her cheek. As he opens his mouth to talk something, she silences him by her finger.

ALLISON  
>Please don't say anymore.<br>It's my turn.

Allison lowers her finger down, closes her eyes when she slowly leans closer him.

ALLISON  
>(whispering)<br>If you die, I'll die after you too.

Their eyes completely close as they lean and kiss each other. There's real love here. They kiss harder and more passionately.

TRACK AFTER STEFAN'S LEFT HAND as it slides down to her belly and gently caresses around.

WE PULL OUT as Stefan suddenly breaks their kiss as his hand still caresses around her belly. His face displays surprise.

ALLISON  
>(moaning)<br>What's wrong?

Stefan gently caresses around her belly, looks down at it and then looks up to her face.

ALLISON  
>What's wrong?<p>

STEFAN  
>(happily)<br>I feel it, Allison. I feel it.  
>How long haven't you menstruated?<p>

That gets Allison's attention. She looks down to her own belly.

ALLISON  
>Two months maybe. Maybe it was<br>because my nerves. Why?

Stefan smiles so happily.

STEFAN  
>The baby. It's in your uterus.<p>

Allison looks up to him with some happiness and surprise. She smiles so proudly.

ALLISON  
>I'm pregnant?<p>

STEFAN  
>Yes.<p>

Then both of them turn and look up to their father who smiles to them and slowly walks to them.

ALLISON  
>You know that?<p>

PICHITCHAI  
>Yes. And that's why I gave you<br>a bottle of buffalo milk.

STEFAN  
>You gave her?<p>

Pichitchai nods as Emma steps forward.

EMMA  
>General, sir, Colonel Wang, Colonel Nguyen and<br>their Chinese and Vietnamese warriors are back.

STEFAN  
>What Emma? You said they're back?<p>

EMMA  
>Yes.<p>

Both General Pichitchai and Stefan look confused. They turn to look at each other.

STEFAN  
>(in Thai)<br>"Dad, I can't feel their minds."

PICHITCHAI  
>"Me too." (to Emma, in English)<br>Where are they? Are they inside  
>the dome?<p>

EMMA  
>They are at the black docks.<p>

ALLISON  
>Black docks?<p>

EMMA  
>The docks at the black gate for<br>them Chinese and Vietnamese to  
>get in this dome.<p>

Stefan supports Allison up to her feet.

PICHITCHAI  
>Damn it!<p>

STEFAN  
>Emma, you bandage Allison's arms<br>and call for Kim and Hikaru. Tell  
>them that we got Judases.<p>

EMMA  
>Yes, sir.<p>

DISSOLVE TO:

EXT. TOILET – NIGHT

AMM gets out from the toilet. Amm looks around and she sees...

AMM'S POV.: A squad of Chinese fullers walk and stop in front.

AMM  
>(in Chinese)<br>"Hey! You Chinese come back."

ONE OF THEM, steps forward. Name tag says he's CHAN LI. Chan Li is 5'7" and of about 30. He is all terminator-like but Amm doesn't notice that. He tilts his head. He doesn't know her.

CHAN LI  
>Who are you?<p>

That suddenly gets Amm's sense. They are all not humans. It's too late. Chan Li quickly grabs her neck and then strangles her in cool blood. Lets her body lie down lifeless.

CHAN LI  
>(to the dead)<br>You are very slow, girlie.

Chan Li looks up to us.

CLOSE ON CHAN LI'S FACE.

CHAN LI  
>We are all like Judas Iscariot.<p>

Chan Li smiles emotionless as his eyes GLOW RED.

FADE OUT.

**END OF ACT 4**

**THE END**


	4. EP8: Epoch

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TERMINATOR

THE RESISTANCE FIGHTERS CHRONICLES

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EPISODE EIGHT

"Epoch"

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Written by  
>Sirapop Nualnimnoi<p>

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.

This fan-produced fiction is a screenplay based on the science fiction drama television series developed for the Fox by Josh Friedman, Terminator - The Sarah Connor Chronicles. This is done in the spirit of fan fiction - to have fun and enrich the total fan experience beyond the limitations of the official story vehicle. This fan-made screenplay is being created available for entertainment purposes of the loyal fans of the show. This story follows the characters of John Connor, Sarah Connor, Cameron, Allison Young and more or all characters from TSCC after the events of the episodes "Resurrection", "Strongest Power", "Ghost Whisperer", "A friend in need is a friend indeed", "Twanton" and "New hope coming" (earlier episodes of this fan-made screenplay series)

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* * *

><p><strong>TEASER<strong>

WE OPEN ON:

INT. SANTIKA CLUB NIGHTCLUB - NIGHT

FULL SHOT

It's a new year night in a club in Bangkok. This place is Santika nightclub, where new year celebration takes place. The nightclub have interior decoration like the mausoleum.

SEQUENCE OF RAPID CUTS:

It's very dim inside the nightclub. The party are full of happy people. There are many people inside, they are from the places around the world, Thai and the citizens of Australia, Belgium, Canada, France, Finland, Japan, Nepal, the Netherlands, Singapore, South Korea, Switzerland, the United Kingdom, and the United States.

ON the stage, as the latest show from the music band are playing at 00.34 AM. They arethe band ironically called _'__Burn'. _People dance so cheerfully as the music play.

WE CLOSE ON THOSE PEOPLE. They dance in barrel of fun until some of them start running out as there is an effect on the stage inside the nightclub. Suddenly, the fire breaks out - commotion all around. People struggle to get to the exits as the sound of AN EXPLOSION IS VERY LOUD. There is a chaos in the fire occurrence. SOME PEOPLE SCREAMS AND CRIES OF PAIN as they try to run out.

ANGLE ON THE SMALL LABEL ON THE WALL 'HAPPY NEW YEAR 2009'.: It's slowly burn by a heap of fire. We pull out as the club is in a fire occurrence. Everything's burning as we...

DISSOLVE TO:

INT. CONDOMINIUM ROOM – MORNING

CRANE UP and revealing the FULL SHOT of a deluxe condominium. The room is about 80 square meters. Dim light by curtain off. Bookshelves along left side wall. Three big bed for three people. Big wardrobe. A lot more things for the psychic family. Some room dividers separate the room into a bathroom, an office and a simple kitchen.

The door is opened.

WE CLOSE ON as the four people get in and all light bulbs are turn on automatically. Revealing they are GENERAL PICHITCHAI, TERMINATOR LAMPAGE MOORE, PROF. DR. MANIDUANG PICHITCHAI, and seven-years-old STEFAN.

PICHITCHAI  
>Get in.<p>

TRACK ON GENERAL PICHITCHAI who walks to his between other beds and puts his baggage down nearby as the rest walk from the door to their locations.

PROF. DR. MANIDUANG, and Stefan walk into a bathroom.

LAMPAGE walks to the curtain and draws it apart.

WE PAN AND SEE THE VIEW OF the Chao Phraya River that run through the capital city of Bangkok.

Pichitchai walks to Lampage who looks at the view.

LAMPAGE  
>Your city is very beautiful, sir.<p>

PICHITCHAI  
>Yes. I think so.<p>

LEVEL ANGLE IN FRONT OF THEM. Lampage turns and smiles so friendly to Pichitchai. In b.g., Maniduang walks out from the bathroom.

LAMPAGE  
>Why do you want me here, sir?<p>

PICHITCHAI  
>There are things you have to<br>do before we go back to LA.

LAMPAGE  
>In fact, this is my homeland.<p>

Maniduang slowly walks to them.

PICHITCHAI  
>Your image is an American but why<br>you said this was your homeland?

LAMPAGE  
>My image was just modeled after the young<br>Rear Admiral of Los Angeles resistance navy.  
>I still don't know why I was activated in<br>Bangkok, Thailand.

PICHITCHAI  
>Emma didn't tell you?<p>

LAMPAGE  
>Yes. (beat)Back to my missions. What do I<br>have to do here?

Maniduang reaches them.

MANIDUANG  
>You need to come with me and prepare<br>things for Emma Akagi tomorrow.

LAMPAGE  
>And what today?<p>

MANIDUANG  
>General Pichitchai and I have an appointment<br>tonight. You have to take care of Stefan till  
>we come back here. Maybe we'll come back late.<br>Can you do it?

Stefan gets out from the bathroom and listens to them.

LAMPAGE  
>If he wants to go anywhere else? (beat)<br>Can I take him there with him if he wants?

MANIDUANG  
>If he wants, you can.<p>

WE CLOSE ON STEFAN as he smiles happily.

MANIDUANG (O.S.)  
>And this morning, you need to take him to<br>the school. He has the big extracurricular  
>activity today.<p>

Stefan gets in the bathroom and closes the door.

EXT. SANAM LUANG – NIGHT

The open field and public square in front of the Grand Palace, Bangkok, Thailand now becomes a battle field in the dark night. Explosions! Plasma-weapons firing like searing strobe-light. All tents are toppled down.

Chinese and Vietnamese warriors who have been replaced by machines, are fighting with Thai and Korean resistance fighters. The machines all use plasma-weapons as some Asian humans use plasma-weapons and some use just sub machine guns.

C.U. GENERAL PICHITCHAI IN FRONT OF WAT PHRA GAEW, he looks battle-harden. He is behind the large stone with two ASIAN SOLDIERS, the Japanese soldier with plasma rifle and the rank of captain – ISHIMISU(30, 5'7"), and the Korean soldier with plasma rifle and the rank of captain too - TONG DAWA(31, 5'8").

PICHITCHAI  
>Ishimisu.<p>

ISHIMISU  
>Sir.<p>

PICHITCHAI  
>I need you and some of your soldiers go to join<br>Hikaru at the black gate. We need to block the  
>intruders in limit.<p>

Ishimisu walks out as Pichitchai stands up, fires, ducks, fires.

DAWA  
>General, sir. I think we can't break<br>them all down.

PICHITCHAI  
>Where's your Colonel, Dawa?<p>

Pichitchai stands and fires then quickly puts himself down, turns and waits for the answer.

DAWA  
>He's coming.<p>

PICHITCHAI  
>Dawa, I need you to go to protect<br>Emma and the server farm. If Skynet  
>can find those things, we'll lose.<p>

DAWA  
>Sir.<p>

Dawa then crawls out of the way then Pichitchai stands up and runs together with firing.

EXT. FRONT GATE – ST. PETER'S SCHOOL – EVENING

At the open front gate of the high school, KIDS are going back their homes. Those kids don't wear their Thai student uniforms. The teachers, guards, janitors do their work unlike everyday in vacation. They all look happy. Maybe it's a good day for them.

ELLISON (V.O.)  
>Does our past affects our present<br>and future? This is something which is  
>in my mind over the last few years due to<br>whatever reasons. So I decided to do my  
>usual analysis of my mind and tried to<br>address the question.

A MAN rides the old HARLEY DAVIDSON motorcycle into the school.

TRACK ON THE MAN as he turns right, rides into...

EXT. PARKING ZONE - CONTINUED

...a parking zone and stops the Harley.

CLOSE ON as he puts off his helmet and sun glasses, revealing TERMINATOR LAMPAGE MOORE. He's here for the reason.

STEFAN (O.S.)  
>You are late.<p>

WE PAN RIGHT as Lampage turns to see seven-years-old Stefan slowly walks to him. Stefan gives him a grotty look.

LAMPAGE  
>I'm sorry, sir.<p>

Lampage looks contrite. Stefan then smiles as she pushes playfully against Lampage's right arm. He gets a very little hurt after he's punched him.

STEFAN  
>Ow! Your arm is very strong.<p>

LAMPAGE  
>(friendly smiles)<br>Sure. That's because I'm a...

STEFAN  
>Shhhuuuu!<p>

Lampage turns around and sees that many students are looking at them. Lampage turns back to Stefan.

LAMPAGE  
>Where do you want to go?<p>

STEFAN  
>National library.<p>

LAMPAGE  
>But now it's 6 pm. National library<br>will be completely closed when we  
>reach there.<p>

STEFAN  
>Never mind, uncle Gage. My father<br>have a friend there. I can get in  
>there every time I need.<p>

LAMPAGE  
>Okay. Let's go.<p>

Lampage strides back to the Harley and starts the motorcycle just a second before Stefan gets on the Harley.

TRACK OVER LAMPAGE as he roars off in a shower of gravel.

ELLISON (V.O.)  
>It's tricky and interestingly applies to<br>almost everybody.

INSERT SCENES FROM S02EP11 (SEPIA TONE):

These are the familiar scenes for us. The scene insertion starts from the scene that Cameron fighting with Stark. During the scene insertion is running, we also hear Ellison's voice over:

ELLISON (V.O.) (cont'd)  
>Our human brain is both a voluntary and<br>involuntary data processor. It implies  
>that it works on information we gain from<br>experiences sometimes by our will, and  
>sometimes without our will.<p>

EXT. PARK – DAY (SEPIA TONE)

SUPERIMPOSE: "A YEAR AGO"

GOVERNOR MARK WYMAN (S02EP11, the governor of California) is at a ribbon cutting for a new play area in a neighborhood park.

ELLISON (V.O.) (cont'd)  
>The difference it makes is through our<br>perspective of the present world around us.  
>It defines the way we look at the world in the<br>present and future.

In the CROWD of partisans stands the dapper JACK VAN METER, looking inscrutable as he watches Wyman.

INT. A BIG LIBRARY ROOM - NATIONAL LIBRARY – NIGHT

The library room is full of bookshelves. There are one librarian counter with lots of photographs on it, lots of table, chairs, lamps, light bulbs, but there is no librarian here. The clock on wall says '19.30'. It means 7.30 pm.

ELLISON (V.O.) (cont'd)  
>So it's clearly evident that our past life does<br>influence our thoughts, perspectives and decisions  
>we make in our present life or for future life.<p>

The light bulbs are turned on as a librarian ushers 7-YEARS-OLD STEFAN and LAMPAGE MOORE into the library room. The librarian is a 5'6" woman. She's POOKEY (30).

POOKEY  
>You can call me Pookey. I know it's hard for<br>you American to call me by my full name. I've  
>worked here for years. I don't want to be<br>dismissed by my boss. So please don't do  
>anything bad to this room.<p>

LAMPAGE  
>Okay, sir.<p>

Stefan walks around and finds a book to read. But we don't want to get our attention to him. We track Lampage as he walks with Pookey into the counter. Lampage looks around as she sits down on her seat.

Lampage stops turning around as he sees the picture behind Pookey. He grabs it up to look and gets attention on it as we...

CLOSE ON THE PICTURE.: It's a picture which was taken in the night on January 1, 2009. A THAI WOMAN - MISS X (28, 5'8")stands on the street in front of a nightclub where had fire occurrence at that time. In b.g., there are many fire fighters and other Thai accident officers are working there. It's a big chaos in the new year night. At that time, the woman is looking to something out of the picture. She's smiling as in the background people work hard. It's unusual for a human.

POOKEY (O.S.)  
>Hey! You American. What are you looking at?<p>

WE PULL OUT and sees Pookey now looks at Lampage.

LAMPAGE  
>Her.<p>

LAMPAGE'S H.U.D.: Compare the face of the woman with the data in his database._** DATABASE SEARCH.**_ Then the H.U.D. shows a picture of the same one but in b.g., it's an apocalyptic future scene. _**T-950 MATCH.**_ This is familiar style of TSCC for us.

ON LAMPAGE'S FACE, he says then:

LAMPAGE  
>I know her.<p>

Pookey, looks at the picture and looks up to Lampage who has turned to face her.

POOKEY  
>Not unless you ever traveled to Thailand<br>a year ago. That photo's from 2009. See,  
>Thursday, January 1, 2009.<p>

Lampage looks back to the picture and we...

CLOSE ON THE LABEL ON THE PICTURE FRAME.: The text is in Thai. It's for 'Thursday, January 1, 2009. 00.45 AM. GOOD BYE SANTIKA. By Namsai'.

Lampage turns to her again.

LAMPAGE  
>(to himself)<br>What was she doing a year ago?  
>(to Pookey)Who is Namsai?<p>

Pookey looks at the picture.

POOKEY  
>Hmm! Err! It's some kind of code name,<br>nickname or something else like those.  
>Maybe it's the photographer's alias.<p>

LAMPAGE  
>Where's this picture from?<p>

POOKEY  
>Famous new year's nightclub fire during<br>celebration. A total of 66 people were  
>killed and another 222 injured.<p>

DISSOLVE TO:

EXT. SANTIKA CLUB NIGHTCLUB – NIGHT

HIGH ANGLE

The street in front of the Santika Club, we see many corpses cover with shroud. The fire fighters still work in a chaos to extinguish all fire. Ambulances and more accident services on around the street. We slowly zoom in and hear:

POOKEY (V.O.)  
>The fire broke out at 12:35 a.m. and citizens<br>of Australia, Belgium, Canada, France, Finland,  
>Japan, Nepal, the Netherlands, Singapore, South<br>Korea, Switzerland, the United Kingdom, and  
>the <strong>United States<strong> were among the injured.

We reach at LEVEL ANGLE and see many people be sad with those corpses. A lot of MEDICS working on injured. We still hear:

POOKEY (V.O.) (cont'd)  
>The fire swept through the nightclub during<br>the New Year's celebration as a band ironically  
>called '<em>Burn' <em>was playing. No official cause  
>for the Santika fire has ever been announced<br>by investigators. Suggested causes include  
>outdoor fireworks that set the roof on fire,<br>sparklers lighted inside the nightclub and  
>an electrical explosion.<p>

WE PAN TO SEE Miss X walks out from the alley nearby and then stands at the same spot we saw in the picture. She turns around for awhile and then keeps look through us to something and she forms the same smile we saw in the picture.

FREEZE: THE SCENE.

We pull camera out for a little, revealing we are back at the library. The picture is putted down on a counter.

CUT TO : IN FRONT OF LAMPAGE.: He looks up to us as in b.g., Pookey is looking at him.

LAMPAGE  
>I need to know what happen to her.<p>

* * *

><p>CREDIT:<p>

. TERMINATOR .  
>.THE RESISTANCE FIGHTER CHRONICLES.<p>

* * *

><p><strong>ACT ONE<strong>

**(The past affects everything in the future)**

INT. SUV – DAY

Sarah sits on the passenger seat, she just hangs up her phone. Semina drives for awhile. Semina's phone rings.

SEMINA  
>(on phone)<br>Hola!

EMMA (O.S.)  
>Semina Cruel, this is Emma Akagi.<p>

INT. TUNNEL – NIGHT

ALLISON, STEFAN and a few Thai SOLDIERS stand guarding the open large door in the tunnel. Allison's arm is completely bandage. Stefan looks worried. They are moving their people out of the community. The people run through door into the station.

ALLISON  
>(in Thai)<br>"Go out. There are subs for  
>you out there. Go. Go. Go!"<p>

STEFAN  
>"Quickly, people. Quickly."<p>

The people move out so quickly. Stefan looks more worried. Allison turns to look at him.

ALLISON  
>What happened?<p>

STEFAN  
>Allison, please stay here until I<br>come back. I can't leave my dad out  
>there and I can't let you go out to<br>get anymore hurt.

As he steps, Allison seizes his right hand by her left hand. Stefan suddenly turns to her and gives her a small smile.

STEFAN  
>Trust me.<p>

ALLISON  
>Last time I trusted you. I was seeing<br>you died, Stefan.

STEFAN  
>I know but you can't go with me.<br>You don't want to kill your baby,  
>do you?<p>

ALLISON  
>But you will...<p>

Stefan silences her with the simple expedience of pressing his lips to hers. He keeps the kiss hard before she kisses him back. And they keep their kiss hard until he breaks the kiss and moves his face up from Allison who just taken aback.

STEFAN  
>Trust me, Allison. Good wives<br>always trust their husbands.

Allison can't resist him. She just pauses and thinks about what she can do for him.

STEFAN  
>Please, Allison. He's my dad.<br>He's one of our family. I can't  
>leave him alone in the battle.<br>I can't let...

ALLISON  
>Okay. You can go.<p>

STEFAN  
>Thank you.<p>

Stefan leans and kisses her once again.

ALLISON  
>Please come back, Stefan. You know the<br>promise well. If you die, I'll die after  
>you and if I die, you'll die after me.<p>

STEFAN  
>Hasta luego.<p>

ALLISON  
>Yeah, hasta luego.<p>

Stefan then runs out through the crowd along the tunnel way. Allison can't do anything. She sees him run away from her to help his dad.

FLASHBACK TO:

EXT. THE TOWER OF LONDON – DAY

HIGH ANGLE, L.S.

It's the apocalyptic future of the Tower of London, United Kingdom. The structure is sound but the trees around all are dead. The tower looks like it's just rebuilt. There are many cannons, anti-ballistic missile launching pads, anti-air artillery installed on around peak of the tower. Maybe these things have been installed after J-Day.

SUPERIMPOSE: "TOWER OF LONDON - UNITED KINGDOM"

SUPERIMPOSE: "ENGLISH RESISTANCE BASE 2024"

We see many ENGLISH SOLDIERS guarding the tower below. The emissary of United Kingdom –- CORPORAL ZYKES(S02EP22) and the leader of English resistance fighters –- LIEUTENANT GENERAL JENNIFER(48, battle-weary, 5'6", orange hair) are meeting with a dozen TECH-COM RESISTANCE FIGHTERS and two dozen THAI SOLDIERS including STEFAN, LIEUTENANT PREECHA SINGHMAK, ALLISON YOUNG, and JASON GROSS. Allison and Zykes stand face to face as the rest stand behind them. As we slowly close on them, we hear some of the things they are talking:

STEFAN  
>You know the point as well. We need<br>some of your soldiers join Tech-Com.

ZYKES  
>What will we British get from you?<p>

We reach the LEVEL ANGLE now.

ALLISON  
>Foods, weapons, and more.<p>

ZYKES  
>We are in the island and we can't go out.<br>We need different foods. Good proposition.

ALLISON  
>Asian resistance fighters have pigs and cows.<br>Maybe this will be good for you. Do you want  
>them? We'll give you twenty dozen breeders.<p>

ZYKES  
>So how many men do you need from us?<p>

Allison turns to face Stefan behind her.

ALLISON  
>(whispering)<br>How many?

Stefan steps forward and stops in front of Allison. Stefan picks into his pocket, takes a sheet of paper up and hands it to Lieutenant General Jennifer who takes it and flashes a glance on it. Jennifer looks up and gives him a small smile.

JENNIFER  
>Hmm! Interesting. Your father<br>always attends to four requisites.

Jennifer glances on it again and then hands it back to Stefan.

STEFAN  
>Do you agree the agreement?<p>

JENNIFER  
>It's very interesting. But<br>it's not my decision.

STEFAN  
>So whose?<p>

JENNIFER  
>I lead my men under Her Majesty.<p>

STEFAN  
>Can we have an audience with<br>Her Majesty?

JENNIFER  
>We can let only two of you get<br>in the tower.

STEFAN  
>Just two?<p>

JENNIFER  
>For safety of Her Majesty.<p>

Stefan turns back and looks at Allison, then Jason, then Preecha. He looks serious. He turns to Allison again and smiles then.

STEFAN  
>Alise!<p>

Allison looks confused.

ALLISON  
>What?<p>

STEFAN  
>I trust you. Please come with me.<br>You should come with me.

Stefan's speech seems to be covert but Allison notices that until he goes to her and grabs one of her hands. People backward can just smile.

STEFAN  
>Can you remember? When I asked you<br>for the first date, for our dinner.

Allison starts to blush.

STEFAN (cont'd)  
>I said I am a candid man.<p>

ALLISON  
>(smiles)<br>I remember.

STEFAN  
>I wanted to say something at that time.<br>It's something I've never said to anyone.

ALLISON  
>'S okay. I'll go with you.<p>

Stefan smiles and takes her with him. They turn to meet Jennifer.

JENNIFER  
>Are you sure for take this girl with you?<p>

STEFAN  
>I'm very sure.<p>

JENNIFER  
>Okay. Follow me.<p>

Jennifer turns and walks to the front gate of the tower.

Stefan holds her hand more firmly. She turns to him, blushes together with smiling to him.

STEFAN  
>Let's go. Finish our mission.<p>

ALLISON  
>Okay. Go.<p>

Allison and Stefan turn to the front gate and start to walk together into the tower.

INT. BIG LIBRARY ROOM - NATIONAL LIBRARY – NIGHT

LAMPAGE AND POOKEY are at the counter. Pookey sits in front of her laptop on the counter. Lampage stands behind her and keeps looking on her laptop.

POOKEY  
>Okay. So,uh,why do you want to find out<br>about this woman or this nightclub?

LAMPAGE  
>We Americans interested in the past. It<br>may someday affect things in the future.

POOKEY  
>Those who don't know history are<br>destined to repeat it or may die.

Pookey keys a couple of keys then she turns back to him together with says:

POOKEY  
>My computer works very slowly.<br>Please wait for awhile. (beat)  
>You know the history of YouTube,<br>don't you? The best video-sharing  
>I know, is YouTube.<p>

LAMPAGE  
>YouTube was created by three former<br>PayPal employees in February 2005.  
>Steve Chen, Chad Hurley, Jawed Karim.<p>

POOKEY  
>You are genius. Okay. We're ready. We can<br>find a lot of videos from YouTube. This  
>website is very useful. Then what you<br>want to find.

LAMPAGE  
>Maybe video record. Seconds or maybe minutes<br>before the fire occurrence.

POOKEY  
>Okay.<p>

Pookey turns back to her laptop and types something.

ON MONITOR.: The words are typed. _**santika club fire**__._ The result shows in a few seconds later. _**143 files.**_

POOKEY (O.S.)  
>Okay we find them.<p>

LAMPAGE (O.S.)  
>Try the first one.<p>

The cursor is moved to the first one.

WE PULL OUT. They both keep look on the video as it's played.

LAMPAGE  
>(as he points to the music band<br>in the video)  
>Who are they?<p>

Pookey stops the video and turns to him.

POOKEY  
>They are '<em>Burn<em>'. A music band.  
>I don't know much about them.<p>

LAMPAGE  
>So we won't get attention on them.<p>

Pookey continues the video then they both look at the video again. We see the '_Burn_' playing for a while.

LAMPAGE  
>Wait. Stop.<p>

Pookey suddenly stops the video.

LAMPAGE'S H.U.D.: Zoom in the video as he sees a small dot of BLUE SPARK LIGHT behind the stage. Zooms in and clears the picture of that dot from pixel break, revealing A TIME BUBBLE behind the effect on the stage.

LAMPAGE  
>Play.<p>

Pookey continues the video then the fire breaks out. People start to run out of the nightclub and it's a big mess chaos.

The video ends then.

Pookey turns to face Lampage.

POOKEY  
>An effect?<p>

LAMPAGE  
>No. It's not.<p>

Pookey looks confused.

POOKEY  
>How could you think so?<p>

LAMPAGE  
>When I said you to stop, I saw a blue dot behind<br>the stage and if you noticed it, you would know  
>it wasn't from an effect but it was from an<br>explosion, an electrical explosion.

Pookey thinks about it and shrugs.

FOCUS ON LAMPAGE who pauses for a while and we...

DISSOLVE TO:

INT. SANTIKA CLUB NIGHTCLUB - NIGHT

FULL SHOT

It's a new year night in a club in Bangkok. This place is Santika nightclub, where new year celebration takes place. The nightclub have interior decoration like the mausoleum.

It's very dim inside the nightclub. The party are full of happy people.

ON the stage, as the latest show from the music band are playing at 00.34 AM. They arethe band ironically called _'__Burn'. _People dance so cheerfully as the music play.

WE CLOSE ON THOSE PEOPLE. They dance in barrel of fun as there is an effect on the stage inside the nightclub.

CUT TO : THE AREA BEHIND THE STAGE

LEVEL ANGLE

Workers behind the stage, start to run out as A TIME BUBBLE is formed nearby the stage. It effects some area around and the SPARK LIGHT attacks on many things around and then the fire occurs.

The TIME BUBBLE disappears and reveals MISS X kneeling on one knee. She stands up and turns around.

She then grabs a woman who runs out nearby her. She looks her up and down. Luckily.

MS. X  
>(intimidatory)<br>Give me your clothes.

As in b.g., now a heap of fire burns along the way to a big cord and then EXPLODES.

CUT TO:

EXT. SANTIKA CLUB NIGHTCLUB – NIGHT

HIGH ANGLE

The street in front of the Santika Club, we see many corpses cover with shroud. The fire fighters still work in a chaos to extinguish all fire. Ambulances and more accident services on around the street. We slowly zoom in.

We reach at LEVEL ANGLE and see many people be sad with those corpses in a few seconds. A lot of MEDICS working on injured.

WE PAN TO SEE THE SAME WOMAN walks out from the alley nearby and then stands at the same spot we saw in the picture. She turns around for awhile and then keeps look through us to something and she forms the same smile we saw in the picture.

BACK TO PRESENT

Lampage seems realise something. He turns back to the picture and imagines what would happen that night.

Pookey turns to him and scoots her chair closer him.

POOKEY  
>What are you thinking about?<p>

Lampage turns back to her.

LAMPAGE  
>Hmm! You know anything else about Santika after<br>that night? Who is in trouble? Who lost benefit?

POOKEY  
>I know who is in trouble. They are the families<br>who lost their members that night.

LAMPAGE  
>I mean about business man, rich people, soldiers<br>police men or even politicians.

POOKEY  
>I didn't interest in it before but...<p>

Pookey turns back to her computer and scoots her chair into her counter together with:

POOKEY (cont'd)  
>...we can find more data from the<br>internet. Maybe start from Google.

FROM THE VIEW BEHIND POOKEY as she browses the website '_**.**_'. It takes a while before her slow laptop shows the website. Pookey suddenly types on the text box. _**Santika fire.**_

The search results appear then. She clicks on one of them. It reveals the news in Thai for someone. The one who was the nightclub owner, WISUK SEJSAWAT. He was being secured by the police men into the police station in the picture.

Lapage looks on the picture and he is confused then.

LAMPAGE  
>Who's that?<p>

POOKEY  
>Wisuk Sejsawat. Santika Club nightclub owner.<p>

LAMPAGE  
>What happened to him?<p>

POOKEY  
>(breath faster)<br>This says concisely about the testimony  
>of Wisuk Sejsawat.<p>

Pookey exhales with exhaustion. She breathes faster and harder and relaxes in a quarter of minute. Lampage looks at her.

LAMPAGE  
>Are you okay? You look very tired.<br>Too much tired. Anything bad happened?

Pookey turns to him and gives him a friendly smile then.

POOKEY  
>It'll be find. This is the simple symptom<br>of Asthma. I'm easily tired.

LAMPAGE  
>I know that. But why you?<p>

POOKEY  
>I have an appointment with a doctor three<br>times a week. Don't worry about it.

Lampage looks down and finds something in the picture.

LAMPAGE'S H.U.D.: Zoom in around the people in b.g. And we find Miss X there.

LAMPAGE  
>Oh. I find her.<p>

Lampage points to the woman in an inconspicuous spot in the picture.

POOKEY  
>Why was that woman there?<p>

LAMPAGE  
>I don't know but her eyes looking to<br>another one there.

Lampage points to the Thai policeman who has the rank of Police Sergeant –- SERGEANT KOMSAN ARUN(5'8", 36).

POOKEY  
>I forget his name but I see he's dead. Maybe six<br>or eight months ago. I saw his face in the font  
>page of the newspaper. I still keep the newspaper<br>with me but I haven't read it for along time.

LAMPAGE  
>And where's that newspaper now?<p>

Pookey looks down under her counter and drags a small carton out. There are many sheets of paper and newspaper inside.

POOKEY  
>Find it if you need.<p>

Lampage kneels down and starts finding the newspaper.

LAMPAGE  
>(as he still search)<br>What's the date on that newspaper?

POOKEY  
>The date?<p>

Lampage stops and looks up to Pookey.

LAMPAGE  
>Yes, the date.<p>

POOKEY  
>I'm sorry, Mr. Gage. I can't remember.<p>

LAMPAGE  
>Never mind.<p>

Lampage looks down and continues search.

WE PULL OUT FROM THE COUNTER as Lampage still searches for the newspaper. Pookey turns around and keeps watch on...

...STEFAN who reads a book fixedly.

ANGLE ON STEFAN as he looks up to us. He seems realise something. He stands up from his seat and walks off.

EXT. CEMETERY GRAVE SITE – DAY

A few dozen MOURNERS are gathered at a grave site. Among them are GOVERNOR MARK WYMAN, his wife, MARIA WYMAN (45), and two sons, SIMSON WYMAN (7) and PATRICK WYMAN(9). It is a Jewish service. The coffin is plain pine. The men all wear head coverings, the women also cover their hair (scarves, wigs, etc.)

EXT. CEMETERY – DAY

Wyman and his family walk back to his limo surrounded by extra GUARDS. As near to the limo as the limo Guard allows stands JACK VAN METER (F03EP02) - impeccably dressed, as usual. Wyman's family boards the limo. Wyman motions his Guards to hang back as he approaches Jack. Wyman is curt and impatient.

WYMAN  
>Mr. Meter.<p>

VAN METER  
>Governor. Please, accept my condolences<br>on your loss. Arnold Wyman was like my  
>beloved friend.<p>

WYMAN  
>That's not why you're here.<p>

VAN METER  
>I wish that were the case, but no.<p>

WYMAN  
>Then you've wasted a trip.<p>

Wyman turns to go.

VAN METER  
>That would be-<p>

Jack grabs his arm...

VAN METER (cont'd)  
>-a mistake.<p>

...which prompts a response from the GUARDS. Wyman waves them off.

WYMAN  
>I think you better walk away.<p>

VAN METER  
>Yes. The time for politics is over,<br>I think. You could have done great  
>things. Good-bye Governor.<p>

Jack turns and walks off. Wyman just shakes his head before returning to the Limo.

JACK, has a cell phone to his ear.

VAN METER  
>(on phone, whispering)<br>Wyman has chosen to abandon talks.  
>(beat) Let's do it. (beat) Really?<br>I think it's time we stop playing a  
>game with them as well.<p>

Jack hangs up. He seems ominous.

INT. LARGE HALL - TOWER OF LONDON – DAY

The large hall are very beautiful. It looks like the Tower of London in many films. Red carpet cast from the entrance to another large room. Many small doors nearby and many guards station in front of them.

AT THE FRONT DOOR, Lieutenant General Jennifer ushers Stefan and Allison Young into the hall. They go to meet with the fat aide-de-camp. He's the captain of aside-de-camps - SIR ANTHONY CHEVENIX (56, 5'7"). Anthony looks very formal and happy.

ANTHONY  
>Hello. Lieutenant General.<br>What's the deal today?

Stefan and Allison step toward Anthony.

JENNIFER  
>This is Sir Anthony Chevenix,<br>captain of the aside-de-camps.

Stefan reaches his hand toward Anthony.

STEFAN  
>Major Warapop Pichitchai, son of General<br>Pichitchai, the leader of Asian resistance  
>fighters.<p>

Anthony smiles and takes his hand.

Allison smiles so proudly and stands looking Stefan and Anthony shaking hands.

ANTHONY  
>What can I do for you, Major?<p>

STEFAN  
>We need to have an audience with<br>the Queen of England.

ANTHONY  
>I'll go to report Her Majesty. Can you have<br>an audience with the royalty? Her Majesty  
>will settle that.<p>

Anthony turns back and walks into the large room.

INT. LIMO – DAY

Wyman and his family are scared and tense as the limo jostles them about.

EXT. LOS ANGELES STREET – DAY

The limo gains some distance from the SUV as a result of a sharp turn at an intersection, but the SUV stays in pursuit.

Helicopters are entering the area.

INT. SUV – DAY

Semina drives as Sarah checks clips in automatic rifles. Her phone rings.

SARAH  
>(on phone)<br>Yeah?

EXT. PHONE BOOTH - REST AREA Auldridge sips a Coke as he talks. Danny stands behind him. AULDRIDGE  
>4 April. This is Audridge. I got Danny. INTERCUT BETWEEN AULDRIDGE and SARAH.<p>

SARAH  
>Where are you?<p>

AULDRIDGE  
>I'm going to Zeira Corp.<p>

SARAH  
>Why not Dakara? Zeira is not safe for me.<p>

AULDRIDGE  
>The most dangerous place is the<br>safest place. Where are you now?

SARAH  
>Emma told me more about Skynet's target.<br>Ellison and Murch are taking him to Dakara.

AULDRIDGE  
>And where are you?<p>

SARAH  
>Emma called me just a minute before you call<br>me. Kaliba is attacking the governor now.

AUDRIDGE  
>Do I have to help you?<p>

SARAH  
>No. We can handle it. You protect<br>Danny till I call you this evening.

AULDRIDGE  
>Okay. Bye.<p>

SARAH  
>Good luck, Agent.<p>

Sarah hangs up.

SARAH (cont'd)  
>You see them yet?<p>

SEMINA  
>Not yet.<p>

Sarah focuses on the rifles.

EXT. PHONE BOOTH - REST AREA

Auldridge turns to Danny as he throws a Coke to a bin.

AULDRIDGE  
>You have to stay with me for awhile.<br>You'll see your mom this evening.

DANNY  
>Okay. It's not bad.<p>

AULDRIDGE  
>Let's go.<p>

Auldridge ushers Danny into his car and then goes to his driver seat and drives out.

EXT. HIGHWAY – DAY

The SUV pushes the limo so as to crash beneath an overpass.

From the SUV a KALIBA THUG aims his M82 and fires a couple of Raufoss rounds through the bullet-resistant windshield, killing the driver.

Two GOONS fire shoulder-mount SAMs (n. missile launched from the ground and directed to destroy an airborne target)into the air. In b.g. We hear EXPLOSIONS not long after, followed by the sound of HELICOPTERS CRASHING.

The Thug aims his M82 at the passenger window at one of Wyman's family.

KALIBA THUG  
>Open it up.<p>

INT. LIMO – DAY

There's a lot of fright going on which isn't helped when the Thug fires at the window. It holds, but clearly won't stand up to a second round.

KALIBA THUG  
>(muffled)<br>Open it.

Wyman unlatches the door. The Thug opens it and lowers the rifle. And falls to the ground, dead.

EXT. HIGHWAY – DAY

Sarah and Semina, out from their own SUV, rush to the limo while firing on the Goons, who fire back. Semina provides cover as Sarah goes to the door.

INT. LIMO – DAY

Sarah pokes her head in.

SARAH  
>Come with me if you want to live.<p>

Maria and Patrick need no encouragement, as they bolt from

the car. Wyman has to force Simson.

EXT. HIGHWAY - DAY

The Wymans run for Sarah's SUV. It's QUIET. The Goons are down.

INT. SUV - DAY

Sarah and Semina get in, the engine is still running...

EXT. HIGHWAY - DAY

...and they beat it the heck out of there.

**END OF ACT ONE**

* * *

><p><strong>ACT TWO<strong>

**(Future can also affect the past)**

INT. SUV – DAY

Sarah turns to face the passengers.

SARAH  
>Is anyone hurt?<p>

The Wymans are in too much shock to pay much attention.

SARAH (cont'd)  
>Did every of you hear me? I said 'is anyone hurt?'.<p>

PATRICK  
>I think I broke my arm.<p>

SARAH  
>What about the rest of you? Are you okay?<p>

MARIA  
>I think so. Thank you.<p>

WYMAN  
>I know you.<p>

SARAH  
>I've got one of those faces.<p>

SEMINA  
>Hold on.<p>

Sarah has just enough time to settle back into her seat as...

INT. PARKING GARAGE – DAY

...the SUV makes an insistent turn into a full parking garage with no people around. The tires' SQUEALING echoes through the structure.

The SUV stops a distance away from stairs, but close to an exit.

INT. SUV – DAY

SARAH  
>Everybody out.<p>

INT. PARKING GARAGE – DAY

Everyone except Semina exits the SUV.

SARAH  
>(to Wyman)<br>You need to get to a secure facility now.

MARIA  
>Why can't you take us?<p>

WYMAN  
>Because she can't.<p>

SARAH  
>You're running out of time. You have<br>to disappear until you're protected.

WYMAN  
>Maria, take the kids, wait at the<br>stairs. Give me a minute.

After a quick hug and kiss between Maria and Wyman, Maria leads the kids off.

WYMAN (cont'd)  
>Why should I believe a fugitive?<p>

SARAH  
>Gratitude. Our friends saved your and<br>twice in the past week.

WYMAN  
>Twice? Who are your friends?<p>

Wyman's phone rings.

WYMAN  
>(on phone)<br>Hello?

EMMA (O.S.)  
>Are you okay, Governor? My friends have<br>worked very fast. The Pichitchais go back  
>but I am here, my friends are here. We'll<br>protect you. We'll see you later. Bye.

SARAH  
>Believe me when I tell you that<br>Kaliba wants you dead.

WYMAN  
>What's this going to cost me?<p>

SARAH  
>I don't know yet. I'll call you. Now<br>go. Look after your family.

WYMAN  
>Thank you.<p>

Wyman exits.

SARAH  
>Let's go.<p>

Sarah gets in the SUV and it goes.

EXT. NATIONAL LIBRARY – NIGHT

LOW ANGLE

The national library is the big old Thai architecture building. Looks like an old palace in Thailand. No one is here now.

INT. BIG LIBRARY ROOM - NATIONAL LIBRARY – NIGHT

LAMPAGE AND POOKEY, search the carton. In a few seconds later, Lampage finds the one he wants.

LAMPAGE'S H.U.D.: Looks at the Thai worn-out newspaper. The top of the page is cut. We can't see the date but the news will show the date. Looks down to the small criminal column, and we see the picture of POLICE SERGEANT KOMSAN ARUN. The police sergeant was strangled. His system immediately translate the article. TRANSLATING... It takes just a few seconds. TRANSLATION RESULT: 'This morning, SERGEANT SOMSAK SAALIM got into a house of his friend's and finds the dead. The police man, Police Sergeant Komsan Arun who is 36 and lives in 28/328 Sivarth 5 Kratoolom, Sampran, Nakhon Pathom Province, was strangled by the unknown strangler in his own house. Police said that this is very weird. No fingerprints on the corpse. No hair and no other bruises. Only one thing the investigators find, is peculiar blood. Lab says some blood evidence found at the crime scene is almost human except there's no red blood cells present.'

Lampage looks up to Pookey.

LAMPAGE  
>Pookey. I got it.<p>

Pookey stops, looks up and gives him a small smile.

POOKEY  
>Okay, let me see it.<p>

Lampage hands the newspaper to Pookey who quickly glances it.

POOKEY'S POV.: The picture and the article.

Pookey looks up to Lampage, her face showing doubtfulness, and then looks down to the newspaper again.

POOKEY  
>(reading)<br>This morning, Sergeant Somsak Saalim got into  
>a house of his friend's and finds the dead.<br>The police man, Police Sergeant Komsan Arun  
>who is 36 and lives in 28328 Sivarth 5  
>Kratoolom, Sampran, Nakhon Pathom Province,<br>was strangled by the unknown strangler in  
>his own house. Police said that this is<br>very weird. No fingerprints on the corpse.  
>No hair and no other bruises. Only one thing<br>the crime scene guys find, is peculiar blood.  
>Lab says some blood evidence found at the<br>crime scene is almost human except there's  
>no red blood cells present.<p>

Pookey looks up to him again.

POOKEY  
>This is very weird. Naturally, if one<br>strangles another, there must be one's  
>fingerprints and blood has no red blood<br>cells. It's really weird.

LAMPAGE  
>(whispering)<br>Maybe it's synthetic blood.

POOKEY  
>What? Are you saying that the strangler<br>used synthetic body parts?

Lampage nods.

EXT. ZEIRA TOWER – NIGHT

Aldridge's car drives up to the entrance. Sarah is inside the building, rushing to the front door.

EXT. ZEIRA TOWER – NIGHT

Auldridge and Danny get out from the car. Sarah opens the door and meets with them.

AULDRIDGE  
>He has come, Sarah. I should leave now.<p>

DANNY  
>Sarah? Sarah Connor? She looks younger.<p>

Auldridge hasn't gotten attention on the question, he walks off to his car immediately.

SARAH  
>Just time travel. Like those cyborgs.<br>Do you want to see your mom, Danny?

Danny looks very relieved.

DANNY  
>Oh...yeah.<p>

SARAH  
>Come on.<p>

Sarah puts her arm around Danny's shoulders and they enter the building...Sarah locking the door behind her.

INT. ZEIRA SUB-BASEMENT – NIGHT

Danny sits with Sarah on her well-used couch.

DANNY  
>You don't seem very surprised.<p>

SARAH  
>I know you have ever worked for Kaliba.<p>

DANNY  
>Yes. Are you going to kill me?<br>I think it's not a good idea for  
>kill me.<p>

SARAH  
>I think so. I just doubt why<br>Kaliba trying to kill you.

DANNY  
>Because of my dad. The result of his<br>work. I figured, if our side had the  
>way to defeat Skynet more easily,<br>then maybe we'd win.

SARAH  
>Maybe we'd win?<p>

DANNY  
>Yes.<p>

Danny smiles.

DANNY  
>I installed a rolling backdoor inside<br>the platform code of Skynet. Now Skynet  
>has the vulnerabilities. Only just my<br>virus can destroy the system core now.

SARAH  
>And?<p>

DANNY  
>You ought to destroy Skynet when you have<br>a chance. If you work slowly, the things  
>I did, will dawdle away. You have to<br>change the game. This is the way. The  
>way to defeat our enemy.<p>

SARAH  
>Where is your virus?<p>

DANNY  
>It's here.<p>

Danny picks a flash drive up from his pocket and hands it to Sarah who suddenly takes it and subtly glances at it.

SARAH  
>I'll do it soon. Thank you and<br>I'm sorry about your dad.

A car pulls up behind the other parked vehicles.

Danny stands.

From the car comes TARISSA DYSON, Danny's mother. Her eyes have teared up and she sees nothing except her little boy.

They hug...tightly.

DANNY (cont'd)  
>I'm sorry, Mom. I'm sorry. I'm sorry.<p>

TARISSA  
>Shhh, baby. Shhh. It's OK. It's OK.<p>

Sarah just watches the hug...happy and yet melancholy.

DISSOLVE TO:

INT. SUB-BASEMENT EXIT – NIGHT

Sarah stands with Tarissa and Danny next to one of Sarah's cars at the solid gated exit. Sarah hands each of them a card.

SARAH  
>The numbers will put you in touch<br>with people I know who will give you  
>new identities.<p>

Tarissa looks concerned.

SARAH (cont'd)  
>Once you're there, call me and I'll<br>wire more money into your account. I  
>figure a million or so should buy<br>you a lot.

TARISSA  
>Are you sure we'll be safe?<p>

SARAH  
>No one is ever safe. But Miles gave me a chance<br>to defeat Skynet once. Danny just gave me the  
>way to defeat Skynet. I'll do what I can do.<br>You both won't have to do anything. If I fail  
>destroy Skynet, you should survive after J-Day.<br>You should get through OK.

DANNY  
>I'll make sure. See you later.<p>

TARISSA  
>I can never pay you back for...<p>

SARAH  
>We're even. Have a long life and a<br>happy ending. In all this madness,  
>somebody should get to.<p>

Tarissa can't stop the tears. She hugs Sarah, and means it.

SARAH (cont'd)  
>Go.<p>

Danny helps pull Tarissa off Sarah.

DANNY  
>Thank you. Sarah. You are our heroine.<p>

Danny gives Sarah a quick hug. It has never happened before.

SARAH  
>Keep your head down.<p>

Tarissa smiles one last time at Sarah and gets in the passenger side. Danny gets in the driver's seat.

EXT. ZEIRA EXIT – NIGHT

The car with Danny driving pulls out and quickly disappears in the night.

INT. SUB-BASEMENT EXIT – SAME

Sarah exhales and turns back to meet with SEMINA CRUEL who walks toward her.

SEMINA  
>What do I have to do then?<p>

SARAH  
>Not now, not tonight.<p>

Sarah gives her a small smile.

SARAH (cont'd)  
>You should do what you really want<br>to do. Maybe answer 'Yes' to Matt.

QUICKLY PAN TO SEMINA who looks confused as Murch walks toward her from backward. He has a nosegay of white roses and he wears very formal suit. And he doesn't wears the glasses now, they are just a pair of blue contact lenses.

SARAH  
>I lost Reese for a long. I know how it feels<br>like when I lost my love. I can't let it happen  
>again and I can't let my friend feel it too.<p>

Semina looks more confused. She still doesn't feel Murch behind her. Murch friendly smiles to Sarah.

SARAH  
>White rose is a symbol of honor and reverence,<br>and white rose arrangements are often used as  
>an expression of remembrance. (smiles) You are<br>very clever, Matt.

Semina suddenly realises, she turns back to face Murch who smiles at her and tries to hand her his flowers.

MURCH  
>Please take my flowers.<p>

Semina smiles as she blushes. She then takes his nosegay and smells them. Sarah leaves them.

SEMINA  
>You always have surprise, Matt.<br>What do you want? Where is Savannah?

Murch smiles bashfully.

MURCH  
>Savannah is with Mr. Ellison at Dakara.<br>I would like to ask you to have dinner  
>with me tonight, do you mind?<p>

Semina turns to Sarah who gives her a warm smile. It's never happened before. Semina turns back to Murch and walks closer Murch. She leans and kisses on his forehead.

Murch looks shocked. He touches his forehead at the area she just kissed on. His smile is bashfully formed.

SEMINA  
>The answer is yes, Matt.<p>

Murch's smile quickly widens.

MURCH  
>Let's go.<p>

Murch and Semina walk into Zeira together.

INT. DAKARA SERVER ROOM – NIGHT

EMMA/MONICA AKAGI sits on her seat and plays a computer game by her laptop on her table. She plays it diligently.

The door opens automatically and SAVANNAH WEAVER stands in front of the room.

EMMA  
>(still plays a game)<br>Good evening, Savannah. Do you want  
>to play a life simulation with me?<p>

ANGLE ON SAVANNAH.: Savannah smiles so happily then enters the room. The door is automatically closed behind her.

INT. THE QUEEN'S HQ – DAY

We are behind the Queen, HER MAJESTY ELIZABETH II of England, who sits on the throne. This used to be a hall in the tower of London and we see many things have been changed since J-Day. Looks more like a HQ.

SIR ANTHONY CHEVENIX, stands in front away from Her Majesty. He louts and then walks toward the large door.

DISSOLVE TO:

INT. OFFICE - DAY

LOW SHOT ON THE DESK –- The clean hand holds the gold pen, signing on a paper which looks like contract. It takes a while before the hand completely accedes. The hand gently puts the pen down and slips the paper forward. Two hands gently pick the paper out of the scene.

WE PAN AND SEE SIR ANTHONY CHEVENIX who hands the paper to Stefan who quickly glances at it. Allison stands beside Stefan. Stefan takes a while before he keeps the paper into his pocket. Allison looks so proud.

Allison and Stefan turn to the Queen.

THE QUEEN  
>I have heard many stories of yours.<br>Thank you for opening the way to the  
>seas for my English forces. It means a<br>lot for me and my people Words can  
>hardly express just how much we<br>appreciate everything you've done.

STEFAN  
>Nothing more than my duty, ma'am. The<br>contract is just a promise for us all.

THE QUEEN  
>And in return, is there anything more than<br>things inside the contract that this  
>queen and this country can do for you<br>Asians and Americans?

ALLISON  
>Ma'am, in fact, there are no Asians,<br>no Americans, and no Englishes. We are  
>all the fellowmen. If we join together,<br>no one can defeat us all.

THE QUEEN  
>You are right. (to Anthony) Chevenix!<p>

Anthony steps forward and gently bows.

ANTHONY  
>Yes, Ma'am.<p>

THE QUEEN  
>You take them all to their reception rooms<br>and take care of them like my people, maybe  
>better than my people.<p>

Stefan politely bows as Allison performs a small curtsy.

STEFAN  
>Honestly, Ma'am. We are sorry for that.<br>We have not much time to stay here.

THE QUEEN  
>That's all right. But just remember:<br>you will always have places here.  
>My land always welcomes you.<p>

STEFAN  
>Good bye, Ma'am. One of us will<br>see you soon.

THE QUEEN  
>I and my people will wait until<br>that day comes.

Anthony then ushers Stefan and Allison out of the office.

EXT. NATIONAL LIBRARY – NIGHT

LOW ANGLE

The national library is the big old Thai architecture building. Looks like an old palace in Thailand. No one is here now. Nothing is changed from the last time we left this scene.

INT. NATIONAL LIBRARY – NIGHT

A SIGN IN THAI FOR MEANING : **PUBLIC** **COMPUTER ROOM**

Pan down to find Pookey working on a clunky 2005 PC. She looks around, makes sure it's only just Lampage who's watching...hits a couple button...a browser shows result of their search: **Komsan Arun. **They are searching about him in the online world and this computer seems faster than Pookey's laptop.

WE ZOOM IN THE MONITOR THROUGH LAMPAGE'S H.U.D.: We find Komsan Arun in many pages of . All are about his weird scene. The cursor points down through those links together with translating the titles of those links until we find the last link below. Lampage doesn't translate the title yet, he finds the name of Psytect Corp.

Lampage points to that link.

LAMPAGE  
>Check this link.<p>

Pookey clicks on the link and another page comes up with the result shows his congress with DR. SARAVIN MONKOL (56, 5'6"). It's in 2009. They are shaking hands among the group of Thai journalists in front of the full moon party in Pattaya. We see Ms. X is looking at them from the food booth behind them.

LAMPAGE  
>That's her. Why was she here?<br>Please read the article, Pookey.

Pookey looks and reads the article for Lampage.

POOKEY  
>(reading)<br>Dr. Saravin Monkol shaking hands with  
>Sergeant Komsan Arun in Pattaya full<br>moon party. Dr. Saravin said 'we can't  
>disdain a no-name guy such as this guy<br>who just finished the great job.' Click  
>this link to read more.<p>

LAMPAGE  
>Dr. Saravin Monkol. I remember he was the<br>former CEO of Psytect Corp.

POOKEY  
>He's dead. He was killed by an unregistered<br>gun 9 months ago in his own house.

LAMPAGE  
>Please check the link, Pookey.<p>

Pookey nods assent then quickly clicks on the link that says in Thai 'Click this link to read more'.

ON MONITOR, the new page comes up(in Thai): 'POL. SGT. DEVELOP NEW PROGRAMMING LANGUAGE, SELL THE CODE TO PSYTECT CEO'. The article is read by Pookey in English.

POOKEY (O.S.)  
>The Police Sergeant, Komsan Arun, the free<br>software developer alias 'eyeshieldTe', sells  
>his developed code for 'Thaibol programming<br>language' to the latest CEO of Psytect Corp,  
>Dr. Saravin Monkol. Maybe this will raise the<br>Psytect up again after the corporation has  
>faced a problem about games and a lot of<br>software products for a long time. Komsan  
>said, 'Thaibol is the powerful programming<br>language. Thaibol is good for network  
>programming.' The CEO sacrifices and pays<br>large amount to buy the code for the next  
>product that he said that this product can<br>raise the corporation up again.

Lampage seems realise something.

DISSOLVE TO:

EXT. PATTAYA FULL MOON PARTY – NIGHT

The full moon party looks fun. People have celebrated under the full moon night. Many food booths, games and a lot more.

AT THE EDGE OF THE PARTY.: it's like in the picture, Dr. Saravin Monkol shaking hands with Komsan Arun among the group of Thai journalists. At the food booth behind them, Ms. X is looking at them.

DR. SARAVIN  
>(in Thai)<br>"we can't disdain a no-name guy such as  
>this guy who just finished the great job."<p>

And the journalists leave them. Dr. Saravin then turns to face

DR. SARAVIN  
>"I'm glad to see another Thai genius guy here."<p>

KOMSAN  
>"I'm glad too."<p>

Dr. Saravin leaves him. Komsan looks proud. He gets out from an area then. Ms. X looks after Komsan and then changes to look at...

...Dr. Saravin who goes to his car parking twenty meters away.

She walks after him.

INT. LIVING ROOM - SARAVIN'S HOUSE – NIGHT

Dr. Saravin gets into his house just a moment before the bullets come to him. Kill him dead.

Ms. X who wears sunglasses, appears from the darkness. She kneels down and looks around his body. Ms. X ferrets around his dead body for awhile. She stops and can't find anything. She stands up and gets out.

INT. TOWNHOUSE – NIGHT

The room has two blue sofa, one television on a shelf, a bookshelf, one refrigerator, a desk with PC desktop and one bathroom.

CLOSE ON BATHROOM

Komsan exits from his bathroom and the hand enters frame, grabbing his neck. Throws him out.

...Komsan bounces onto a sofa. He looks up to see Ms. X. They talk to each other in Thai.

KOMSAN  
>(afraid)<br>"Who are you? What do you want?"

MS. X  
>"Where is it? The prototype. Where is it?"<p>

KOMSAN  
>What prototype?<p>

Ms. X looks angry. She suddenly throws him onto the floor. In a flash, she reaches him, grabs the collars of his shirt and lifts him up.

MS. X  
>"Where is it? Thaibol prototype, where is it?"<p>

KOMSAN  
>(weakly shout)<br>"Thaibol, I bought it two weeks ago.  
>It's not here. The code prototype is<br>not here. Saravin got it."

Ms. X smiles friendly and lowers him down. Talks in English:

MS. X  
>Thank you for explaining.<p>

Ms. X quickly grabs his neck by her left hand and crashes his larynx, strangling him dead. Ms. X releases her hand and the dead falls down lifeless. Ms. X then turns and leaves the scene.

BACK TO PRESENT

LAMPAGE  
>Pookey, can you take care of Stefan<br>for me for awhile? I forgot something.

Pookey sighs and then looks up and smiles.

POOKEY  
>Okay. Just a while.<p>

LAMPAGE  
>Yes. Just a while.<p>

Lampage stands up and walks off. Pookey looks after him walk off the room. Exhales, shakes her head.

**END OF ACT TWO**

* * *

><p><strong>ACT THREE<strong>

**(Things are cleared)**

INT. EMMA'S SERVER ROOM – NIGHT

The Emma Akagi server fills the room. There are chairs, a table, and several projected images. The large monitor in the room shows system action: "_**Moving files...**_" Emma stands in the center of the room, closing eyes and keeping straightly stand. She looks like a psychic who is gathering oneself together. Her protector is TONG DAWA with his plasma rifle. Dawa looks worried.

CLOSE ON EMMA'S EYES as the cyborg's closed eyes have a blue glow beneath the eyelids before opening. The blue glow disappears almost immediately after opening.

Dawa, turns to look at Emma who just completely opens her eyes.

Emma looks at Dawa as her monitor shows a picture of the front gate of the dome. The view looks toward underwater as the subs from United Kingdom, _**Astute**_**-class** submarines. They are coming here. Emma smiles so friendly to Dawa.

EMMA  
>Captain, go to tell Pichitchai<br>'they are coming'.

DAWA  
>But the General...<p>

EMMA  
>Go. We need to clear the way for<br>those English warriors to win  
>this battle easier.<p>

Dawa nods assent and goes to the door.

Emma turns to the monitor as the door opens automatically to let Dawa to get out.

INSERT MONITOR.: The window-form application pops up. It says 'Front Gate opening...'.

CLOSE ON EMMA'S FACE as she smiles so proudly.

EXT. BATTLE-HARDEN BANGKOK – NIGHT

BIRD-EYE-VIEW

Our POV flying over the battle-harden city of Bangkok, this is the one hell night of the BSD. Thai and Korean armies battle with Chinese and Vietnamese cyborgs in everywhere.

CRANE DOWN and we see two Thai SOLDIERS with a LAW, running on the rooftop of the building. They're running to the edge of the rooftop.

E.C.U. TWO SOLDIERS as they reach the edge of the rooftop. They then fire a LAW rocket at a...

...group of twenty CYBORGS below. Explode. Fire. Filling frame.

DISSOLVE TO:

EXT. SANAM LUANG – NIGHT

The ASIAN FORCES are in the middle of one hell of a firefight take place around the battle-harden Sanam Luang. Plasma rounds whiz by so thick you could read by them.

Stefan and Pichitchai, and a SQUAD of six, run for their lives from a gang of ten CHINESE CYBORGS. Stefan and All the humans immediately dive for the ground.

At that instant, five DELTA FORCE CYBORGS rise up and start firing at the gang of ten. It's a fierce exchange with plasma rounds firing as quickly as the guns can recharge.

Gang of ten cyborgs soon become gang of seven cyborgs. The Delta Force Cyborgs drop down to four, and then three.

The battle continues as there are many explosions around the battle-harden Sanam Luang.

STEFAN AND HIS DAD

keep their heads down. They want nothing of this. And then it's QUIET. Everyone stays on the ground for a while as more distant

battles are still raging in b.g.

STEFAN  
>Dad, we can't win. There are too many<br>people nearby machines. We can't...

PICHITCHAI  
>We can do it. Captain Dawa said 'English<br>fighters is coming'.

Stefan looks at his dad with shock and disbelief as the Squad gets up and moves forward, leaving Pichitchai and Stefan.

PICHITCHAI (cont'd)  
>It's the only one way to win.<p>

One of the gang of ten cyborgs rights itself enough to face Stefan and Pichitchai.

T-888'S H.U.D.: It first recognizes Stefan. "IDENTIFIED : COLONEL WARAPOP PICHITCHAI" Target lock on Pichitchai, matching in in-memory photo. "IDENTIFIED : GENERAL ANONGSAK PICHITCHAI. TERMINATE ALL."

The T-888 defies its considerable damage to bring its gun to bear on Pichitchai.

STEFAN catches the movement.

STEFAN  
>Dad!<p>

Stefan lunges to push John aside at the same time that he shoots at the T-888.

The T-888 fires a split-second later, just before it suffers skull splat.

Stefan uses his hands to protect himself from the plasma shot. The plasma disappears just before it reaches Stefan and the power from the plasma's gas pressure that disappears slower, attacks and sends Stefan away from his dad, his back colliding with the wall so hard before his body fall on the ground. Unconscious.

ALLISON/PICHITCHAI (O.S.)  
>Stefan!<p>

We pan and see Allison and Pichitchai run to him. Allison runs from another way nearby. Allison has her cape and plasma rifle with her.

Allison suddenly kneels down beside Stefan. Pichitchai sighs relieve.

PICHITCHAI  
>He's okay.<p>

Allison looks up to Pichitchai as T-NGUYEN TUAN appears behind him. Allison suddenly FLINGS the cape which SNAPS OUT and SNATCHES the neck of T-NGUYEN's. Pichitchai quickly turns before T-Nguyen tries to cut the cape. Pichitchai uses his mind push T-Nguyen away at the same time that Allison WINGS her cape off.

A COUGH. Stefan sits up and stands up with Allison. Stefan holds his chest. Her hands hold his chest then. Stefan turns to face her with confusion.

STEFAN  
>Why didn't you go by my...<p>

ALLISON  
>You are one of my family. I can't<br>leave you alone in the battle.

Tears are streaming from Allison.

ALLISON (cont'd)  
>What would happen if you died and<br>what would happen to our kid if one  
>day he asked me about his dad, how I<br>could answer.

STEFAN  
>But you will mis...<p>

Allison quickly steps close Stefan and silences him with the kiss. They kiss harder at the edge of the battle.

CLOSE ON STEFAN as his eyes still go wide and he sees something in front of him.

He suddenly pushes Allison away and reaches his hand toward...

...THE T-WANG PICHAO who bounces away after that. Pichitchai immediately grabs Wang's rifle and aims it toward him then fires.

T-Wang's chip is blasted.

Both Pichitchai and Stefan quickly run to Allison and support her up to her feet.

STEFAN  
>Are you okay?<p>

ALLISON  
>I'm okay.<p>

PICHITCHAI  
>Let's go.<p>

Pichitchai, Allison, and Stefan walk toward the grand palace.

INT. LIVING ROOM – DR. SARAVIN'S HOUSE – NIGHT

It's very mess like some kind of deserted house. The room has two red sofa, one television on a shelf, two bookshelves, one deactivated refrigerator, a desk with PC desktop and one bathroom.

From this point, we LOOK toward the door. There's a SOUND OF THE LOCK UNLOCKING. The door is opened by LAMPAGE MOORE.

Lampage turns around the room. We see the pictures of Dr. Saravin's.

LAMPAGE'S H.U.D.: scans through room in IR mode. SAFE. Then turns around the room again. Looks to the wall that has cracks.

Lampage steps forward and quickly stops. He turns to the door and sees a silhouette of a woman who is getting into this house.

Lampage delves into the back of his jacket, picks a shotgun up and aims it toward the door.

And then the door is opened and Ms. X gets in.

Lampage suddenly fires at the terminator. Ms. X is the T-950.

EXT. GARDEN – NIGHT

T-950 crashes backwards through a plate glass window into the garden.

Lampage Moore gets out and walks to her.

She stands and punches at his chest then his leg and kicks him into the house. THE GUN falls to the floor. She then runs into the house.

INT. LIVING ROOM - NIGHT

Lampage bounces from the outside and falls on the glass table.

T-950 walks to him and quickly tries to punch his head but he's able to evade/deflect them. He stands and launches himself at her, who is able to use that to smash him into the wall.

T-950 kicks out. On the second kick, Lampage catches the leg and twists her to the ground—hard.

LAMPAGE  
>Come on, Girl.<p>

T-950 looks up at him and...

T-950'S H.U.D.: Her display can't identify him as her known cyborg. She scans his endoskeleton and result shows: "SUBJECT: UNKNOWN CYBORG. ACTION: EVADE. EVALUATE MISSION." It's like when Vick scanned Cameron. But why? Maybe this tells us that not every T-950 know TOK-725.

T-950 sweeps Lampage's legs causing him to fall. As he does,

she rises and starts to run but he quickly grabs one of the legs, pulling her fall on the floor again.

Lampage pitches her to collide with the wall and pierce into another room.

INT. KITCHEN – NIGHT

The kitchen looks like in Allison's house. Everything looks like every kitchen. The female T-950 pierces through wall into the kitchen. She quickly rises up again.

Lampage with his shotgun, runs into the kitchen and kicks her at the abdomen. He fires the shotgun at her head. Lampage tries to shoot again but he has already emptied his shotgun. Lampage drops his gun away. His emotion is pungent.

The T-950 subtly smiles and launches herself at him, who bounces off the kitchen.

INT. LIVING ROOM – NIGHT

As Lampage rises up again, T-950 runs across the room at a non-human speed and launches herself at him, slamming him viciously into a wall.

She throws him around the house like a Mexican wrestler on cyborg steroids. She gets him in on the ground, pressing into him with all her might, smashing him with her iron fists.

T-950 tries to punch him at the head but something stops her. She can't control her arm. Then all her parts let him go. And she amazingly bounces off.

WE PAN AND SEE THREE GUYS AT THE DOOR. They are Stefan, General Pichitchai and Maniduang Pichitchai. Maniduang keeps her mind on a T-950. They all look like the powerful wizards. They glance at the female T-950 harder as she is amazingly pushed onto the wall, blocking her stained with the wall like Jesus was nailed to the cross.

Lampage turns around to see them. He then turns to see the T-950. He looks confused.

STEFAN  
>(in Thai)<br>"Quickly do it, lug nut metal"

Lampage tilts his head acknowledge. His face is emotionless. He opens the blade of his automatic knife. And he walks to her.

EXT. GARDEN – LATER

FOCUS IN THE HOLE. The body of T-950's is pitched into the hole. The "energy pack" has been already pulled out.

TILT UP, revealing Lampage, Stefan, Maniduang and General Pichitchai are standing around the hole.

PICHITCHAI  
>Why did Skynet send her here?<p>

LAMPAGE  
>Maybe to kill Police Sergeant Komsan,<br>Dr. Saravin and destroy the Thaibol  
>programming language compiler.<p>

Both Maniduang and Pichitchai turn to face Lampage. They look confused.

PICHITCHAI  
>I don't understand why it has to<br>destroy just a compiler.

LAMPAGE  
>But I do.<p>

MANIDUANG  
>Is it about Emma?<p>

LAMPAGE  
>Thaibol will be used by Emma to program an<br>intelligence code to hack into THAICOM system.  
>Emma will use THAICOM to hide the actual<br>location of BSD from Skynet after J-Day for  
>five years, enough time to build the BSD up.<p>

PICHITCHAI  
>And this is so important?<p>

LAMPAGE  
>Yes. BSD is your strongest fortress to<br>save most of your people from machines.

PICHITCHAI  
>And BSD is...<p>

LAMPAGE  
>I'll explain later. We have to burn<br>her before the police gets here.

They all turn to look at the hole. Stefan quickly picks up a paper bag, rips it and spreads the termite onto the body. Lampage lights up his lighter and discards it on the body which is burnt in termite then.

They look down to make sure that the T-950 is burnt.

STEFAN  
>Today is very fun.<p>

They all turn to Stefan who smiles happily to them. Maniduang slowly forms a smile. Looks friendly.

MANIDUANG  
>Yeah, it's a good day, nephew.<p>

STEFAN  
>Let's go. They are coming.<p>

They turn to leave and we turn our camera to look in the hole.

CLOSE ON as the body is being burnt very fast. The endo legs, endo arms and some parts were already burnt. The fire spouts.

LIGHT FILLING IN OUR FRAME and we match dissolve to:

ON MONITOR.: This is in the life simulation, The Sims 3. LIFE MODE. The fire occurs in the big house in the game. Firefighter is working on those fire.

WE PULL OUT AND WE ARE AT...

INT. EMMA SERVER ROOM – NIGHT

SAVANNAH WEAVER and EMMA AKAGI are playing the games. They look happy. They turn to face each other.

EMMA  
>You have done this with John Henry.<p>

SAVANNAH  
>Yes, I have.<p>

EMMA  
>Can I meet him?<p>

SAVANNAH  
>John Henry?<p>

EMMA  
>Yes. Can I meet him?<p>

SAVANNAH  
>I don't know. I miss him. It's a long<br>time I have never seen him.

Savannah turns to the monitor. She continues her game. Emma looks at her. Savannah looks sad.

WE CLOSE ON SAVANNAH as she looks up to us and her tears flow.

DISSOLVE TO:

INT. HOLDING ROOM – NIGHT

ON ELDER-SAVANNAH'S EYES.: Her tears fall.

SLOWLY PULL OUT and we see Savannah sits on the floor, her back resting against a wall away from the door but still viewable from the door-slit, her chin on her knees. On her left arm, looks like a large smudge. A couple centimeters of it are very clearly the fresh barcode scars from a Skynet tattoo-burner, but the remaining four centimeters are smudged, extended, and tapered until it fades. I looks like a tribal barcode tattoo.

Sounds of LOCKS UNLOCKING and BOLTS SLIDING precede the door opening, flooding the room with comparably bright light. A silhouetted endo steps inside. She turns to see at the same time an unconscious soldier is thrown inside. He's about 5'9". Savannah wipes her tears and looks to the man. She rolls him to identify who he is. The soldier is PATRICK WYMAN (29). Patrick has cuts on his face and the same tattoo on his left arm. His rank is Lieutenant. He slowly opens his eyes to see Savannah. He weakly smiles to her. She smiles back and...

SAVANNAH  
>Who are you?<p>

PATRICK  
>Patrick Wyman.<p>

Patrick sits up and keeps looking to her face.

PATRICK  
>You are Savannah Weaver.<p>

SAVANNAH  
>You are the Governor's son. Why have you<br>been here? How could Skynet get you?

PATRICK  
>We are in the battle...<p>

Savannah gets attention on him.

PATRICK (cont'd)  
>I ran and fired to three HKs and then I fell<br>on the ground. And a T-888 came and stunned me.  
>Then I'm here.<p>

SAVANNAH  
>We can't escape from here.<p>

PATRICK  
>No. Don't think so. We have the way.<br>The machines are stupid. I think it's  
>really right.<p>

Patrick picks a very very small paper bag out from his pocket. He shows it to Savannah who gets closer to look at it. She turns and sees him who subtly glances at it. They whisper:

SAVANNAH  
>What's it?<p>

PATRICK  
>Pyrotechnic composition of a metal<br>powder and a metal oxide that produces an  
>exothermic oxidation-reduction reaction.<p>

SAVANNAH  
>Thermite? Is it thermite?<p>

PATRICK  
>It's the Thermate. Thermate composition is a<br>thermite one enriched with a salt-based oxidizer.

Patrick turns to Savannah and gives her a smile.

PATRICK  
>We can escape from this door by this thing and<br>then we will run out of here as fast as we can.

Savannah has hope, she smiles to him.

EXT. SANAM LUANG – NIGHT

IN A BLASTED GUN EMPLACEMENT at the edge of battle, General Pichitchai watches the combat with night-vision binoculars. Stefan and Allison stand beside him. The soldiers try to regroup around the gun emplacement.

C.U. STEFAN AND ALLISON

They pant and look battle-harden. They turn to face each other. Stefan smiles to her so friendly.

STEFAN  
>Thank you, Allison.<p>

ALLISON  
>For what?<p>

STEFAN  
>Came here for me. Saved my life.<br>Resurrected me. And love me.

Allison gets closer and gives him a quick kiss at the left cheek.

ALLISON  
>(whispering)<br>Because you are my husband, my eternal  
>love. I love you forever, Stefan. It's<br>not because of your power but it's  
>because of your mind...<p>

Allison touches his forehead. Her eyes are luminous, honest, infinitely deep.

ALLISON (cont'd)  
>...your swell soul. I don't care<br>which body you are inside. I don't  
>care the body. I care your soul.<br>Your spirit is master of the body.  
>I want to fight against machines with<br>you. And I want to face the future  
>with you, Stefan.<p>

STEFAN  
>So do I. I need you. The reason I have<br>resurrected up, it's all because of you.

ALLISON  
>I had a dream, Stefan. I saw our son and the<br>future of ours. We have a happy family.  
>(a tear falls from her eye)<br>I want that future. I want our family be like that.

Stefan touches her tear together with giving her a smile.

STEFAN  
>So fight against the machines with me.<br>And we are going to build that future  
>together. I promise.<p>

ALLISON  
>I won't betray you. I won't leave you.<p>

STEFAN  
>How are those Englishes, dad?<p>

PICHITCHAI  
>They are coming. About two minutes.<br>From the south. They need the way to  
>be clearer.<p>

Allison turns to the soldiers behind her. TONG DAWA, looks up and faces Allison. His team is behind him, they are all ready.

DAWA  
>What's the command, Mrs. Pichitchai?<p>

ALLISON  
>I can command you?<p>

DAWA  
>Not the time for sniff. We need just<br>the command. What's the command, sir?

ALLISON  
>Go! Clear the south.<p>

Dawa turns back to his team.

DAWA  
>Go! Send the command.<p>

The team runs into the battlefield, they head to the south.

WE FREEZE THIS SCENE as we still hear the sounds of plasma-weapons and massive explosions. The picture looks like the pictures in those historic books.

FADE OUT.

**END OF ACT THREE**

* * *

><p><strong>ACT FOUR<strong>

**(Revolution)**

INT. WYMAN'S OFFICE – NIGHT

GOVERNOR WYMAN'S office is surprisingly austere for a politician. It has the requisite meeting areas, a spacious desk, family pictures, etc., but not many prominent mementoes. Wyman sits at the desk in shirt-sleeves, his jacket draped over a corner of his chair. He's reading something from a folder.

ELLISON (V.O.)  
>'Don't allow history to repeat itself:<br>Socialism can lead to dictatorship'

Wyman sighs together with shakes his head.

EXT. SANAM LUANG – NIGHT

HIGH ANGLE

Sanam Luang now have hope. The English resistance fighters get in the battlefield. They are led by LIEUTENANT GENERAL JENNIFER.

ELLISON (V.O.) (cont'd)  
>'The executive branch also needs to change.'<p>

SEQUENCE OF RAPID CUTS:

Explosions! Plasma-weapons firing like searing strobe-light. The machines are cut down as they fight against humans. Lt. Gen. Jennifer and Col. Kim lead their army terminate those machines so fast. The humans are going to certainly win this battle.

ELLISON (V.O.) (cont'd)  
>'Too often, it's inefficient, outdated and remote.<br>That's why I've asked this Congress to grant me  
>the authority to consolidate the federal bureaucracy<br>so that our Government is leaner, quicker, and  
>more responsive to the needs of the American people'<p>

DISSOLVE TO:

EXT. SANAM LUANG – LATER

AT THE CENTER OF THE BATTLEFIELD.

The field of Sanam Luang is battle-harden. Some dead trees. Ruins of many military tanks and dead CYBORGS. General Pichitchai, Colonel Kim, Colonel Hikaru, Stefan and Allison are there. Only just few soldiers are nearby them. General Pichitchai is shaking hands with Lt. Gen. Jennifer.

ELLISON (V.O.) (cont'd)  
>This paragraph is buried on page 7 of the<br>President's State of the Union address of  
>Jan. 24.<p>

PICHITCHAI  
>Welcome to BSD, Lieutenant General Jennifer<br>of England.(beat) How is Her Majesty?

In b.g., on the dead-like CHAN LI, still lies on the ground about ten meters away.

JENNIFER  
>Her Majesty is fine. Thank you for your<br>supports many years ago, now we Englishes  
>are safe from those machines.<p>

CLOSE ON CHAN LI'S EYES as their closed eyes have a red glow beneath the eyelids before opening. The blue glow disappears almost immediately after opening.

JENNIFER (O.S.) (cont'd)  
>Not completely but we are still safe.<p>

BACK TO THEM as the Chan Li starts to stand up with his plasma rifle and no one notices that.

PICHITCHAI  
>My old friend taught me once.<br>'No one is ever safe'.

Chan Li aims his rifle toward General Pichitchai. Then changes to Stefan.

A SERIES OF SHOTS.

1) CHAN LI'S H.U.D.: The targeting cursor locates Stefan. The lower command display shows: "IDENTIFIED: WARAPOP PICHITCHAI"

JENNIFER (O.S.)  
>We'll go back our land after we gratitude<br>you Asians. So let us gratitude you.

The lower command display changes to: "TERMINATE"

2) Chan Li's cold eyes.

PICHITCHAI (O.S.)  
>Okay if you want that.<p>

3) The safety of a plasma rifle being flicked off.

4) General Pichitchai smiling to Lt. Gen. Jennifer.

5) Sighting down the rifle.

6) General Pichitchai turns and finds Chan Li. It's too late.

END SERIES OF SHOTS. (SLOW MO)

Finger pressing on the rifle's trigger.

PICHITCHAI  
>Stefan!<p>

The plasma is shot out...

TRACK THE PLASMA SHOT.: and we see this shot move forward to the target but General Pichitchai pushes Stefan away from the trajectory at the same time that he shoots at the T-888 a split-second, just before the shot attacks on his ribs under the arm he shot with.

BACK TO NORMAL

The chip of Chan Li's is destroyed and Chan Li falls down lifeless.

General Pichitchai, lies on ground too. Everyone is stunned from the accident. Pichitchai has a big ol' burn hole on his ribs under the arm he shot with. Stefan rushes to turn Pichitchai face-up. Pichitchai's face is white; his eyes are wide open. Breathing comes in quick gasps. Allison suddenly kneels down beside Stefan. They both look tearful.

STEFAN  
>(in Thai)<br>"Dad. No." (he turns to men backward)  
>"Hydrogen sulfide, quickly"<p>

But Pichitchai quickly grabs his head. Stefan suddenly turns to face his father. The tears flow from his eyes. So do Allison.

PICHITCHAI  
>"Take care of my men". Allison!<p>

Allison gets closer him and he grabs her hand firmly.

PICHITCHAI  
>"Take care of Stefan."<p>

ALLISON  
>Of cause I will. I'm his wife.<p>

Pichitchai turns to face his son, touches the face of his son's.

PICHITCHAI  
>"Time for my relaxation. Please don't<br>save my life. I need to sleep forever.  
>Good bye, my son and" (to Allison)<br>"my daughter, my beloved kids."

Pichitchai closes his own eyes peacefully and his gasping stops. Emma Akagi runs into the group and sees Pichitchai is dead. She comes here too late. She can't do anything. Her eyes seem sad.

Stefan gently releases his hand from the dead. Like every soldier, Stefan can't cry too much but this takes a while before he can't keep his sadness inside, he leans his head to Allison's shoulder and cries on her. This is the first time we see a strong soldier crying on the woman's shoulder. Allison doesn't cry but her tears fall as her hand strokes and keeps him cry on her shoulder, relieving his sadness on her.

CLOSE ON THE DEAD. Looks peaceful. Lifeless. Happily died.

ELLISON (V.O.) (cont'd)  
>It was expertly placed by a master propagandist.<p>

INT. DAKARA SERVER ROOM – NIGHT

EMMA/MONICA AKAGI and SAVANNAH WEAVER sit on her seat and plays a computer game by Emma's laptop on the table. Savannah looks very happy. They both giggle as they play.

ELLISON (V.O.) (cont'd)  
>The words are deep into the speech when the minds<br>of most...

AT THE DOOR.: The door is half-opened by Ellison. He looks at them and this should remind him of John Henry. Ellison smiles so happily as he watches...

ELLISON (V.O.) (cont'd)  
>...are wandering and not paying attention<br>- especially those in the television audience.

...SAVANNAH laughs and befriends with her new cyborg companion.

ELLISON (V.O.) (cont'd)  
>Ask yourself what it means, or could mean.<p>

AT THE DOOR.: The door is slowly closed by Ellison.

INT. KALIBA SECRET BIO LAB – DAY

It's a big bio lab as the light bulbs are turned on automatically and we see ten capsules contain JACK VAN METER'S CLONE BODIES. Wow! These are like one hell clone army. As we close on the heavy door on the porch opposite side of us, we still hear Ellison's voice over.

ELLISON (V.O.) (cont'd)  
>As Santayana said: "If you don't know history,<br>you're doomed to repeat it."

The door is opened by the real one of JACK VAN METER. He gets in and another one follows him in. It may be the mistake thing, the one who come in after Jack is the triple eight we suddenly recognize –- CARTER (S01EP04). They look through the porch to see the clone army.

ELLISON (V.O.) (cont'd)  
>And on the other hand, if you know history,<br>you shouldn't or won't repeat it.

They smile so proudly. It's gonna be one hell of the dogfight.

INT. ROUNDHOUSE – DAY

The room is full with more than two dozen Platoon Leaders. It's quiet. GENERAL PERRY stands at the rear of the room, off to the side of the entrance. We can't hear what they are talking about. It seems some kind of summit conference.

Through the door we see T-BEDELL(Skynet Template Of Kill(TOK) - Martin Bedell) with a plasma rifle step onto the porch.

ELLISON (V.O.) (cont'd)  
>Like I said 'We can't...<p>

General Perry looks through those platoon leader to T-Bedell and gives him a friendly smile, mis-recognizing T-Bedell, thinking it's real Martin Bedell.

ELLISON (V.O.) (cont'd)  
>'...allow history to repeat itself,...'<p>

T-BEDELL'S H.U.D.

The display is of the Skynet red hue. Every control looks like in TOKs and T-ZMs. The targeting cursor locates Perry. The lower command display shows: "IDENTIFIED: GENERAL JUSTIN PERRY".

ELLISON (V.O.) (cont'd)  
>'...not when we have the power to stop it.'<p>

The lower command display changes to: "TERMINATE".

BACK TO SCENE

And T-BEDELL slowly rises plasma rifle up, aims it to General Perry.

JOHN (O.S.)  
>Perry!<p>

BEDELL'S H.U.D.

The safety of a plasma rifle being flicked off. Sighting down the rifle. Finger pressing on the rifle's trigger.

ELLISON (V.O.) (cont'd)  
>'It's up to us now...'<p>

FIRES just a split second before we full our frame with BLUE LIGHT and FADE TO BLACK.

ELLISON (V.O.) (cont'd)  
>'...all of us'<p>

INT. ROUNDHOUSE – CONTINUED

Perry falling hard to the floor. Perry has a big ol' burn hole on his head. He's dead. It's too late for him. But it's not late for those Platoon leaders.

EXT. ROUNDHOUSE – CONTINUED

T-BEDELL...

...drops. His CPU port the victim of another plasma shot delivered by:

OUR EVERLASTING HERO, LIEUTENANT COLONEL JOHN CONNOR –- dirty and exhausted - lowers his rifle and drops to his knees.

INT. ROUNDHOUSE – CONTINUED

Those Platoon leaders run and surround looking to Perry's corpse. No hope for the General's life now. The brain, the most important part of everyone, has been already destroyed by a plasma shot.

EXT. ROUNDHOUSE – CONTINUED

JOHN who still drops to his knees, looks more tired and tearful. He can't save Perry. Another one died in front of him again.

CAMERON, LAUREN FIELDS, JAMES ELLISON, SEMINA CRUEL, and MATT MURCH run toward him.

ELLISON (V.O.) (cont'd)  
>Everything in the future, is always up to us.<p>

Cameron and Lauren support him to his feet. They all stand looking into the roundhouse. What's the fate now? We don't know yet.

ELLISON (V.O.) (cont'd)  
>And it's always up to our decision.<p>

EXT. CREMATORIUM – DAY

From F03EP04: It's not in the evening, it's in the midday. And the picture of the fourth episode, is clear now. The crematorium is for General Anongsak Pichitchai. The corpse is being burnt inside the crematorium. Smoke rises up to the air. Dust to dust. Ashes to ashes. We are in a Buddhism temple and this place is in Bangkok, Thailand, under the BSD. All ranking people wear black formal suits.

CLOSE ON PEOPLE. And we see Stefan and Allison standing in front of the crematorium. The people all cry sadly, so do Allison and Stefan. Stefan tries hard to keep his tears inside his eyes but he can't. It's very hard to keep the tears inside the eyes after he sees his dad die from him forever even he's a soldier, so will you if you loss anyone you love?

Stefan looks up to the dome's ceiling and sees the gray cloud.

STEFAN'S POV.: The cloud forms to be the face of his dad's. This is all from his mind. This is very weird. The gray face-form cloud is smiling so proudly.

HIGH ANGLE, focus on Stefan's face as his smile forms and he wipes his tears by his hands, Allison too. She then looks at him who still looks up to the dome's ceiling. Allison touches her hand on his shoulder. He turns to face her and...

ALLISON  
>This isn't the time to be sad.<br>We need to strike all Skynet  
>factories around here before<br>it will attack us again.

Stefan looks in her eyes and gives her a small smile.

STEFAN  
>I need a mask. I need my new name.<br>I need my assistant. I need my troop.

ALLISON  
>Everyone is...<p>

KIM (O.S.)  
>Everyone in here, is your troop.<p>

Stefan and Allison both quickly turn to see Colonel Kim and Colonel Hikaru who is coming here.

Stefan and Allison have their hope now. They smile as tears come out, proudly, delightedly, and powerfully.

The Colonels reach them and smile to them so friendly.

KIM  
>We are yours to command,<br>Mr. and Mrs. Pichitchai.

Kim shrugs.

KIM  
>Oh! Not Mr. and Mrs. but you're General<br>and Lieutenant General, our new leaders  
>of Asian resistance fighters.<p>

Stefan and Allison look more proud. The tears of happiness flow from their eyes.

EMMA (O.S.)  
>Yes, all of you are right.<p>

They all turn to face Emma Akagi and Lietenant General Jennifer who stand behind Stefan and Allison. They friendly smile to them.

EMMA  
>I and Lieutenant General Jennifer cast<br>in with your troop too. We can be under  
>your command. Your father needed this.<p>

And then Stefan turns to his wife who smiles to him.

ALLISON  
>I'm your wife, Stefan. Good wives always<br>face every problem with their husbands.  
>I belong to you, Stefan. And...<p>

Allison picks the ring up. It's the same ring Stefan's old body had worn.

ALLISON  
>...wear the ring. We'll become the couple<br>once more, we will belong together once  
>again, and I will be one of your people.<p>

With her right hand, she takes Stefan's left hand and puts the ring just above the finger, and looks Stefan at the eyes.

ALLISON  
>General Warapop Pichitchai, do you take<br>me, Allison Pichitchai, to be your wife?

Stefan smiles to her.

STEFAN  
>I do. Sweetie, I always have done.<p>

Allison puts the ring on Stefan's finger, they both looks each other in the eyes and Stefan takes her hand in cross finger and kisses her hand and then he leans and tries to kiss her but...

Emma coughs to warn Stefan. He suddenly stops and turns to Emma.

STEFAN  
>Thank you, Emma. I almost forget it.<p>

EMMA  
>Never mind.<p>

ALLISON  
>We need to make sure the people<br>are ready to fight again.

Stefan turns back to Allison and reaches his hand toward her who quickly takes it. Then they all start walking.

DISSOLVE TO:

EXT. BIG GYM – MORNING

It's really big gym. Asian people and Asian Platoon leaders are sitting in front of the big stage.

M.C.U. THE STAGE.

STEFAN and ALLISON are on the center of the stage. EMMA AKAGI, COLONEL HIKARU CHINTAI, COLONEL KIM YOUNGCHUN, and LIEUTENANT GENERAL JENNIFER stand behind them. They are all dressed up.

Stefan announces to those Asians without microphone or bullhorn but his voices are loud and resonant inside the gym. People always listen to him.

STEFAN  
>Now a day, we loss too many people we<br>love. We loss too much. Our happy days.  
>Our families. Our friends. Our leaders.<p>

People get all attention at him. Some of them look tearful and some of them look angry. We know who they broil or who they want to be sad for.

STEFAN (cont'd)  
>Now it's our turn to attack them,<br>our turn to destroy the machines,

People start to be excited. They keep their tears in their eyes.

STEFAN (cont'd)  
>...our turn to respond, our turn to destroy<br>their future, our turn to revenge and our  
>turn to send those machines to the HELL.<br>Please call me 'General Enigma Boykins'

Stefan now becomes GENERAL ENIGMA BOYKINS(a/k/a Warapop Pichitchai a/k/a "E. Boykins"). The people look more powerful.

E. BOYKINS (cont'd)  
>and I'll lead all of you to the beautiful<br>future all together. For our loves, for our  
>friends, for General Pichitchai and for our<br>lives. Go. We'll tell the machines we are  
>the strongest specie in the universe.<p>

The entire ASIAN PEOPLE respond, their shouts echoing across the gym. They CHEER so loud and we close on Boykins as Emma, Jennifer, Hikaru and Kim step forward closer the couple.

C.U. Boykins who reaches out his hand. He talks to her in softly tone, he always have.

E. BOYKINS  
>Again. Would you mind being second in<br>command of the Asian resistance fighters?  
>(beat) Would you mind leading my people<br>against Skynet with me?

After a moment, Allison takes it.

Boykins looks down to their hands then up to his wife beside him. She looks happy and she answers him sincerely.

ALLISON  
>I came here for you. I can't leave you.<br>I'll be here with you if you need me to.

Their hands hold each tighten like their bond. Allison looks at him so proudly as her face blushes and she gives him a warm smile. Boykins smile back to his wife and then...

They both look to their people together. They smile to their people. Boykins' voices slowly soften while we are zooming out:

E. BOYKINS  
>From now on, this is my wife, the<br>second in command of our forces.

Boykins and Allison turn to face each other for a few seconds. They blush. Boykins then turns to his people.

E. BOYKINS  
>For now on, you just need to know<br>this for sure: talking to her is  
>like talking to me. No secrets.<br>Anyone knowingly moves against  
>her, they move against me.<p>

No one resists the couple. They get their attention on the couple and wait for the next words. E. Boykins and Allison, hold their hands more firmly.

DISSOLVE TO:

INT. LIVING ROOM – DAY

It's the future. The furniture inside look like the 2064 digital furniture. Hi-tech sofa. Automatic system. This is utopian house.

SITTIPONG PICHITCHAI, KITTY PICHITCHAI, MAGGIE MOON and STEFAN JR. sit on the long sofa. They are listening the story of GRANDMA ALLISON'S AND GRANDPA STEFAN'S. Grandpa Stefan looks younger than his age(looks same age as grandma Allison).

GRANDMA ALLISON  
>We lived our lives during the war together.<br>We spent few months before we destroyed all  
>ASW bot factories in Hokkaido and Jeju-do.<p>

Grandma Allison turns to grandpa Stefan and smiles to him. She then turns back to the listeners.

GRANDMA ALLISON  
>On 23 April 2028, I gave Stefan the most<br>wonderful present. He was our first baby.

With that, everyone looks to Sittipong who smiles little proudly.

GRANDMA ALLISON  
>(to Sittipong)<br>He's you, Sam, my first baby, my only one son.

We slowly zoom out as grandma Allison speaks... we don't hear the words.

FADE TO:

EXT. SKYNET TERRITORY – NIGHT

HKs and a couple of endos search around this area that is near Century Workcamp. The land is pretty clear.

An HK lifts up by the ankle a DEAD FULLER(the same fuller we've known since S02EP22). After a quick scan, it puts the fuller back on the ground softly.

Deep in the recess of a collapsed street, JOHN HENRY's eyes and the eyes of other T-ZMs and TOKs are alive. It's going to be a long night.

ELLISON (V.O.)  
>The future is always ours.<p>

FADE OUT.

**END OF ACT FOUR**

**THE END**


	5. EP9: Kiss of Death

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.

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TERMINATOR

THE RESISTANCE FIGHTERS CHRONICLES

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EPISODE NINE

"Kiss of Death"

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Written by  
>Sirapop Nualnimnoi<p>

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.

.

This fan-produced fiction is a screenplay based on the science fiction drama television series developed for the Fox by Josh Friedman, Terminator - The Sarah Connor Chronicles. This is done in the spirit of fan fiction - to have fun and enrich the total fan experience beyond the limitations of the official story vehicle. This fan-made screenplay is being created available for entertainment purposes of the loyal fans of the show. This story follows the characters of John Connor, Sarah Connor, Cameron, Allison Young and more or all characters from TSCC after the events of the episodes "Epoch", "Resurrection", "Strongest Power", "Ghost Whisperer", "A friend in need is a friend indeed", "Twanton" and "New hope coming" (earlier episodes of this fan-made screenplay series)

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.

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* * *

><p><strong>TEASER<strong>

WE OPEN ON:

EXT. SUVARNABHUMI AIR PORT – DAY

A Thai Airways Boeing 747–400 starts on the asphalt runway of Suvarnabhumi air port in Bang Phli, Samut Prakan, Thailand.

SEMINA (V.O.)  
>Like the plane ups to the air,<br>the kiss has steps. First, you  
>touch your partner's lips like<br>when the air plane starts.

We track the airplane that running fast.

SEMINA (V.O.) (cont'd)  
>You suck your partner's lips<br>like the plane running through  
>the runway.<p>

As we shoot up with it from the asphalt up through sheeting rain, towards the top of the sky.

SEMINA (V.O.) (cont'd)  
>And when you keep the kiss deeply, it's like<br>when the plane ups to the top of sky and  
>flies on the stable level in the air.<p>

FADE TO:

INT. RESTAURANT - NIGHT

The restaurant looks good. Many tables and people. Music playing softly in the background. We won't interest on those people but we will just interest on Semina's table in a secluded corner, dark and quiet. There are two candles on the table, their flames illuminated their secluded booth softly and shadows flicked across the area. The tablecloth shows us that there is someone under the table. She looks happily. The plates is cleaned. Where is Murch? As we zoom in:

SEMINA (V.O.) (cont'd)  
>Passionate kiss can bring you to<br>face with something more than that.

We stop, staying not too close, and we see Semina looks down under table. What is she looking to? Or who is she looking to? The people around don't interest in her action.

SEMINA (V.O.) (cont'd)  
>Sexual intercourse.<p>

She smiles to someone under table.

SEMINA  
>I see why you chose this place for us tonight.<p>

SEMINA'S POV.

The one who is under the table, Matt Murch, looks somewhat handsome without the glasses. Murch looks up and smiles to us as his hand going almost immediately to the thigh.

MURCH  
>(whispering)<br>I have no idea.

CUT TO MURCH'S POV.

Semina Cruel, blushes, her look is come-hither. Like an angel forward us. If we forget who she is, we'll see her beauty by this sexual way under table. Murch continues whispering:

MURCH  
>You're beautiful when you blush. You know that?<p>

SEMINA  
>Thank you.<p>

His finger trails up the edge of her dress, teasing the curve of her breast. Her breathing increases and she should feel herself thrust her chest out slightly, wanting his touch. She gasps as his finger circles her nipple, before finally touching the aching tip.

BACK TO SCENE

His lips trails up to her neck licking and kissing. She cries out softly. He leans back smiling up at her wickedly.

MURCH  
>This is only the beginning. I'm going to<br>make you come right here at this table.

SEMINA  
>Right here? In public?<p>

MURCH  
>Yes, right here.<p>

His body disappears immediately beneath the table again.

UNDER TABLECLOTH: His fingers lightly separate her knees and we hear her very soft groan.

Semina, yelps out loud, looking around the restaurant in horror.

Murch, spreads her roughly apart and yanks her hips to the edge of the seat, his teeth sink into her inner thigh, not quite enough to break the skin, but enough she'd probably be bruised from his passion. She is about to voice her concerns when his finger starts lightly caressing her lacy panties, right over her hot soaking wet clitoris.

Semina, wants him bad so she bites her lip and spreads her wanton legs further apart.

His hands as they brush the soft skin of her hips and tug on the lace of her panties. She lifts her ass off of the seat so he can slide them off. She moans as the wet lace pull away from her swollen clitoris. He strokes the skin of her inner thighs, and she spreads her thighs wide. His breath is on her wet pussy and she squirms a little, eager to have his mouth on her.

Semina, waits, all of her muscles tense, every nerve on edge waiting for his touch. She is holding her breathe until...

Murch, slides one hard finger along her wet folds. She tries to gasp but her lungs are already full and she is starting to get dizzy. She lets out a shaky breath and squirms against his wickedly talented finger, but he is firmly in control of the situation, and in control of her. He parts her lips with his fingers and blows gently on her wet pussy. She moans and digs her fingers into the padded seat to keep from grabbing his head and pulling him to her. He dips one long, elegant finger inside of her and she groans, her inner muscles gripping his finger tight.

Semina, tries not to cry out when his tongue darts out to trace around the edges of her aching clit. He chuckles under the table.

It's awhile before the real assault begins and he starts licking her, his finger sliding in and out of her wetness. She is lifting her hips to meet his finger and...

...her head is thrashing about as she bites her lip to keep the sounds of ecstasy to a minimum.

He soon adds another finger to join the first one deep inside of her, her moist cavern stretching to accommodate them both. The muffled sounds of his fingers pistoning in and out of her is wildly arousing. She nearly screams out loud when his hot mouth latches on to her and starts sucking, his tongue teasing her.

Her muscles spasm around his fingers. She drapes one leg over his shoulder and thrusts her hips up to meet his mouth, her movements now frantic with need. Moans spill ceaselessly from her lips, becoming louder the closer she gets to coming.

She is beyond caring who hear her now. Gripping the tablecloth tightly in both hands she lifts it up and gazes down the length of her body. The sight of his head working between her thighs almost put her over the edge into an intense orgasm.

Murch, looks up at Semina, his face wets from her arousal, but he never stops pleasuring her. His teeth grazes her and her orgasm ripples through her. Her body trembling as she continues to press her hips to his mouth, wanting the orgasm to last forever. She bites into her own palm to keep from screaming out as the first orgasm ends only to be followed closely by another. Her body spasms helplessly until he places one final kiss upon her quivering pussy and pulls his drenched fingers out of her. She whimpers weakly at the loss, panting after her release.

He emerges from under the table, straightening his clothing and wiping his face with a napkin. His smug expression is so sexy and he smiles at her then leans in and captures her lips with a kiss.

SEMINA  
>Thank you, Matt. That was wonderful.<p>

They kiss each other again but more passionately. They keep the kiss harder and longer as we slowly BLUR AND DISSOLVE TO:

EXT. HIGH GROUND - NIGHT

John is on sniper duty, but he's not paying attention to the endos. Instead, he's looking at...

KYLE AND DEREK

Huddled over a map, talking with each other. Kyle looks up and then over to Connor. He points to John and then with a curt hand gesture, motions John over.

EXT. HIGH GROUND - MOMENTS LATER

John joins up with Derek and Kyle.

JOHN  
>What's up?<p>

KYLE  
>We wanted you in on this.<p>

Kyle and Derek exchange a look.

KYLE (cont'd)  
>Alliance units are pinned down here, near<br>Century. It's only a matter of time before  
>Skynet reserve force gets to them.<p>

DEREK  
>Endos and HKs are searching.<p>

KYLE  
>We can't send- what?<p>

John has a sort of half-smile he's trying to fight down.

JOHN  
>I have an idea.<p>

Kyle's willing to hear anything at this point. Derek looks hopeful.

INT. KALIBA OFFICE – DAY

The office is protected to the outside world. Many things around like Maniduang's office. JACK VAN METER, sitting on his seat, waiting for something or someone.

The door, automatically opens. CARTER gets in the office with a box in his hand. Carter puts the box on the table. Jack looks to the box.

VAN METER  
>Is it effective?<p>

THE BOX (12cm x 8cm x 1cm) is made of various metals and composites which give it a slap-dash appearance. A touch pad lock is inlayed with a clear cover so that it is flush with the surface. The label says: "".

CARTER  
>In common human, this will destroy the<br>brain cells and maybe kill him or her.

VAN METER  
>And what for a psychic?<p>

Carter presses the keys he knows are correct. CLICK...the box opens. There is a stock of three glass tubes of THE GREEN LIQUID.

CLOSE ON THE GREEN LIQUID.

CARTER (O.S.)  
>Psychic is a kind of mutant human. Psychic has<br>a strong brain. The brain cells have much power  
>but they still can't resist this poison at all.<p>

JACK, looks up to face Carter.

CARTER (cont'd)  
>...this can give psychic a lifelong ignominy.<p>

FOCUS ON EMOTIONLESS CARTER. He starts a cunning smile.

CARTER (cont'd)  
>It destroys the mind power and turns the psychic<br>to be like a common human. Not forever but enough  
>time for us to kill the psychic.<p>

JACK, smiles like Carter. He looks very like a Satan.

VAN METER  
>Then their fate belong to us. Well, we can<br>kiss all those psychics goodbye.

CARTER  
>Mr. Van Meter. Tonight, this place will be the<br>good morgue for the psychic.

Jack then laughs so loud like a mad man. Carter smiles so proudly. Jack's eyes look cruel. We can sense the darkness that is coming soon in this episode.

INT. HOLDING ROOM – NIGHT

Savannah Weaver stands looking at Patrick Wyman who is kindling on an inflammable rope with two stones like a stone age human.

SAVANNAH  
>I don't think this way will help us.<p>

PATRICK  
>We have no choice.<p>

SAVANNAH  
>We can't destroy the door in time.<p>

Patrick tries harder and then the hope comes, the fire is kindled on the rope.

PATRICK  
>It's done.<p>

WE TRACK THE FIRE as it burns along the rope toward the lock that had been spattered the thermate on. The edge of the lock, starts being burnt in thermate.

BACK TO PATRICK AND SAVANNAH.

Patrick turns to her and gives her a proud smile.

EXT. PLAYGROUND – DAY

TIGHT ON small children playing. Different ones. Wider now, to reveal a playground in a park. Very idyllic. A playground, crowded with laughing children playing on swings, slides, and a jungle gym. Here the grass is vibrant green and the sun is shining.

CLOSE ON A BENCH, a woman wears sun glasses, sits there. She wears a big cap. Looks like a fugitive.

AN OLD MAN who wears shirt, jeans, bandana and sunglasses, walks toward her. They look at each other. He then hands her a note. She quickly glances at it and then puts off her sunglasses, revealing her identity, DR. MARY BUHAI PH.D.

MARY BUHAI  
>So you are E. Boykins.<p>

FOCUS ON THE OLD MAN.: The bandana and the sunglasses come off. He looks like Grandpa Stefan but he is about 72. If you can remember something, you'll recognize who this guy is. He's not present Stefan. He's Stefan's older self from the previous future, THE ENGINEER E. BOYKINS.

THE ENGINEER E. BOYKINS  
>And you are Snow Bell. I'm so proud to<br>meet your real one. I have what you need.

Mary stands up and then they shake hands.

MARY BUHAI  
>Nice to meet you, Boykins. My name for real is...<p>

THE ENGINEER E. BOYKINS  
>Dr. Mary Buhai. Doctorate of psychology...<p>

Mary is stunned. Her hand moves automatically out from his.

THE ENGINEER E. BOYKINS (cont'd)  
>You are a sharp girl. You've always been, aunt<br>Mary. My name for real is Warapop Pichitchai.  
>Nickname's Stefan. You know me as well.<p>

Mary looks so proud.

MARY BUHAI  
>You are from the future, right?<p>

THE ENGINEER E. BOYKINS  
>Yes. I'm from the future. I have not much<br>time here. I come here for a great reason.

MARY BUHAI  
>What is it?<p>

THE ENGINEER E. BOYKINS  
>Hope.<p>

The engineer picks a box up from his pocket and tries to hand it to Mary Buhai. Mary looks at it. It's the secure box.

THE ENGINEER E. BOYKINS  
>I have not much time. I need to go.<br>The time is nearly up.

Mary is still confused but her mind controls her hand to take it. However, she takes it and looks at it.

THE ENGINEER E. BOYKINS  
>One of my product. See you again when<br>the world needs me to. Bye.

MARY'S POV.: As she looks up to him. His hand closes both of her eyes. She can't open her eyes for a few seconds. And when she opens her eyes. The engineer is not here.

Mary turns around, trying to find him. He's not here. He's not around here.

FOCUS ON MARY'S FACE.: The face shows both consternation and confusion. What our fate is, whatever it is, we cut to:

* * *

><p>CREDIT:<p>

. TERMINATOR .  
>.THE RESISTANCE FIGHTER CHRONICLES.<p>

* * *

><p><strong>ACT ONE<strong>

**(Century Work Camp)**

INT. OUTSIDE DAKARA SYSTEM – MORNING

The same spot like in F03EP01 and the same SECURITY GUARD stands seriously nearby the door.

LOW ANGLE AT THE LIFT as it opens, and we see six feet of two people who wear formal boots.

BACK TO THE GUARD

He turns to see the three visitors.

CUT TO BEHIND THE GUARD, revealing who those visitors are. They are who we have known, PROF. DR. MANIDUANG PICHITCHAI, TERMINATOR LAMPAGE MOORE and seven-years-old STEFAN. They come here. Maybe it's the right time for this.

SECURITY GUARD  
>(in Thai)<br>"Good morning, sir. How was the flight?"

They smile to the guard so friendly.

STEFAN  
>"The air hostess was like an angel.<br>She looks so find."

The guard smiles ridiculously and friendly to Stefan.

SECURITY GUARD  
>"Do you have any picture of her?"<p>

And they both start giggling.

MANIDUANG  
>Security!<p>

Startled, the guard looks up to meet Maniduang.

SECURITY GUARD  
>"Sir."<p>

MANIDUANG  
>"When I wasn't here, was there any<br>thing bad happened here?"

SECURITY GUARD  
>"Weaver's kid was here last night. There were<br>many people here last night but nothing bad  
>happened. I still can't trust the Connor.<br>She's a fugitive, right?"

MANIDUANG  
>"She's gonna help us. Don't tell the police<br>about her. If you do, I'll kill you."

But you know she won't.

FADE TO:

E.C.U. A WOMAN'S ARM as a hand grabs her elbow and another hand with a hypodermic syringe and light green liquid inside. Those hands always wear gloves.

WE PULL OUT A LITTLE. We are in...

INT. DAKARA MEETING ROOM - DAY

...and we see the injected one, SARAH CONNOR. Sarah wears a sundress and her usual jeans. She sits on a wing chair. She's looking down to her arm. The liquid is slowly being injected into her vein. Sarah looks anxious.

It takes awhile for the injection. The hand carefully pulls a hypodermic syringe out as another hand press on the injection area.

MANIDUANG (O.S.)  
>Okay. It's finished.<p>

PULL OUT, revealing MANIDUANG is the one who has injected Sarah. She then releases Sarah's arm. Sarah holds and caresses around her arm.

MANIDUANG  
>How does it feel like?<p>

Sarah looks up.

SARAH  
>It's good. What did you just inject?<p>

MANIDUANG  
>Your arm is still safe but around your body,<br>we still find those bacterias. They are in  
>your blood. We can't cure it at all. This<br>will help you feel better.

SARAH  
>Thank you.<p>

MANIDUANG  
>Never mind.<p>

Maniduang takes off her gloves and keeps it in a box. She then throws a hypodermic syringe to a recycle bin.

MANIDUANG (cont'd)  
>You will help us destroy Kaliba Group.<p>

SARAH  
>What's your story?<p>

Maniduang looks serious for that.

MANIDUANG  
>My ancestors, were captured by a group<br>of thugs in the second World War.

That gets Sarah's attention.

MANIDUANG (cont'd)  
>They are all scientists. Genius. Smart. And Curious.<br>One of them is Fadoric Van Meter. Fadoric tried hard  
>to hasten the brain for faster reaction. He did every<br>thing until he found my grandpa. He changed him to be  
>a psychic. Telekinesis abilities were the first thing.<br>After the World War ended, they tried to find my grandpa  
>but they failed. My grandpa set up a family. Then<br>we have a long story. My family ran lifelong but  
>not anymore. We were playing dead lifelong. We<br>found interesting project of two people who didn't  
>know who we are. Van Meter found it too.<p>

SARAH  
>You meant about Miles?<p>

MANIDUANG  
>Yes, Miles Dyson. And I saw you and him bombed<br>the lab. I saw everything. I saw your son in  
>Crestview High School.<p>

Sarah exhales hard. She looks more serious.

MANIDUANG (cont'd)  
>We take a lot of time to find out how<br>to destroy everything. We found Alex  
>and Xander. We firstly took over their<br>company and offered to help his son  
>develop Emma Akagi.<p>

SARAH  
>That's all your story?<p>

Maniduang NODs.

INT. SKYNET LAB – DAY

This lab has been modified. It's a bit like Emma's lab. The cramped room is a 3-d interconnected computer with cubes attached to cubes attached to cubes, like a giant molecule.

At one end is a 5'-ish high MOTION HOLOGRAM of a generic human male that, if you notice it, you will know it looks like our heroic dead computer scientist, "MILES DYSON" (S01EP01). There are two Kaliba fighters guarding the CPU, three thug computer scientists, LARGE MAN T-950(F03EP07) and Carter and...

...TERMINATOR JAMES ELLISON (S02EP07: a T-888 looks like James Ellison), stands nearby the door at the edge of the door. Only one thing we know is T-Ellison was deactivated by Cromatie but why it's here. Who have helped it? Who have reactivated it? It's our puzzle now.

AT THE MOTION PICTURE. Like Emma, when Skynet talks, the motion automatically moves its lips like when human talks. And now Skynet has new voice, Miles' voices:

SKYNET  
>This is very impressed. Our war against<br>those terrorists begins. (beat) And I'm  
>so proud to say that after tonight we<br>are going to change the world.

We see those eyes GLOW RED.

SKYNET (cont'd)  
>This world will be cleaner.<p>

INT. ALLISON'S NEW BEDROOM - NIGHT

ON THE BED. We see Enigma Boykins(a/k/a Stefan a/k/a "E. Boykins")sitting on the bed, his back against the head of the bed, his hands holding a storybook. Beside him is ALLISON PICHITCHAI who lies her head on a pillow. It seems a soft pillow. Allison wears a nightdress. He wears his Pjs. She's like a child when a child can't sleep and wants a bedtime story to lullaby. E. Boykins fables the story in Thai. Allison smiles to him and always gets attention on what he told her:

E. BOYKINS  
>"By the sweat of the tortoise's brow, he could<br>run into the finish line and took the victory.  
>By the rabbit's carelessness, he lost the<br>tortoise disgracefully."

And this is the end of this bedtime story. Boykins closes his book, puts it down and turns to Allison. She smiles to him but he looks disappointed for that.

E. BOYKINS  
>I think it's the time for you to sleep, sweetie.<p>

ALLISON  
>You are a good storyteller. Can you fable more?<p>

E. BOYKINS  
>You promised me if I fabled this story,<br>you would sleep. So you should sleep  
>right now. It's late night.<p>

Allison lowers her head in fake sadness like a child. She takes her blanket, covers her with it, lies down and turns her face away from him. As she's doing so, she says displeasingly:

ALLISON  
>Okay. I sleep. No more fable.<p>

E. BOYKINS  
>Allison.<p>

Allison has sulked. She looks childish. And E. Boykins, what he can do. He tries to call her again:

E. BOYKINS  
>Allison, please. Alise.<p>

His hand is putted on her shoulder. She's still passive, her face is off his look.

E. BOYKINS  
>Allison. Please don't do this to me.<p>

ON ALLISON'S FACE as she smiles pleasedly. And Boykins is still trying to reconcile her, doesn't know that she's pretended sulking. As cunning as a fox.

E. BOYKINS (cont'd)  
>Allison. Do you sleep?<p>

Pianissimo, Allison chuckles. She then cover the body completely. He exhales and his arm reaches, another book fly onto his hand.

E. BOYKINS  
>Okay. Alise. I'll read you another story<br>then you'll sleep. Is it okay?

She quickly puts her blanket off and turns to him with a very happy look. E. Boykins smiles to her and then opens a book, looks at it at the same time she gets attention on him. The book that he's gonna read, it's not one of those Aesop's fables, it's one of **Sunthorn Phu's poetic fairy tales.** The title says in Thai: "The Legend of Sudsakorn: cartoon edition".

E. BOYKINS  
>(reading in Thai)<br>"Sudsakorn is a curious young man, raised in  
>the ancient traditions of magic by his mystical<br>grandfather. He never knew his farther."

LATER, as he reads the part of the story:

E. BOYKINS  
>"Grandfather said, 'Sudsakorn. Go. Go to find<br>and retrieve your staff'. Sudsakorn accepted  
>and..."<p>

When E. Boykins turns to Allison, he sees she has already slept. She looks peaceful. Her eyes have closed. And E. Boykins gently closes the book.

E. BOYKINS  
>Good night, Allison.<p>

CLOSE ON ALLISON as he leans and gently kisses on her forehead. His lips form a small smile.

E. BOYKINS  
>(whispering in Thai)<br>"I love you, my babe."

E. Boykins, slowly covers her the blanket. He then fondles her silky brown hair. His eyes look at her. He kisses on her forehead again and...

E. BOYKINS  
>(whispering)<br>See you again tomorrow. I'll tell you  
>every secret I have and I'll bring you<br>to see someone. No secrets between us  
>anymore, Allison.<p>

His eyes up to us. He has the courage of his convictions.

EXT. CENTURY WORK CAMP AREA - NIGHT

John, Cameron, Jason, and two SOLDIERS are hyper-vigilant as they walk through this grassy territory that boasts not a few rebuilt buildings amid the destroyed roads.

There is no cover to speak of. Everyone except John and Cameron looks scared to death (John doesn't know any better).

Century Work Camp can be seen several hundred meters away, but surprisingly the humans aren't under attack...yet.

The five-member squad continues on. Low, cautious, and expecting to be ambushed any second.

INT. PASSAGEWAY - CENTURY WORK CAMP – NIGHT

SAVANNAH AND PATRICK, hold their hand with each and run through the long passageway together as the ALARMS alert so loud.

SAVANNAH  
>Are you sure you know the way<br>out of here?

PATRICK  
>Trust me.<p>

They reach at a wooden door. They turn back to the way they just left. At about twenty meters away, a T-900 enters the passageway.

They turn to the door and Patrick quickly kicks the door open and they start running again.

EXT. CENTURY WORK CAMP AREA - NIGHT

John and his squad are at some of the ruins.

JOHN  
>Kyle said Alliance force was here.<p>

CAMERON  
>They are around here.<p>

Concerned eyes look at Cameron.

JOHN  
>What are you doing?<p>

CAMERON  
>(unconcerned)<br>Skynet knows we're here.  
>(beat) John Henry!<p>

JOHN HENRY (O.S.)  
>What?<p>

Everyone turns in the direction of John Henry's call.

Bad idea as a camo-painted T-900 endo rises from the tall grass.

T-900'S H.U.D.: As it quickly targets John. It compares his face with a photo from S02EP15. It's a photo from high angle of the drone. "SUBJECT IDENTIFIED: JOHN CONNOR" Then: "TERMINATE."

From over John's shoulder we see the endo aim the weapon and then its head splats.

John, at the rear, hears the endo's demise and sees it fall and disappear into the grass. The sound of the SHOT is delayed.

John wheels around searching for the source of his savior. Cameron does the same.

CAMERON'S H.U.D.: In the distance, a T-ZM cyborg (Victoria) lowers a .50 caliber rifle and slowly walks to us.

John and Cameron catch up to the rest of the squad.

JOHN  
>Let's hurry.<p>

As John Henry(has cuts and burns) and the rest of T-ZM endos and TOKs emerge from the highway rubble and the tall grass, John sees those TOKs. They are everyone we know: T-Debbie (F03EP07), T-Walsh (modeled after Mr. Walsh), Terminator Justin Tuck /*T-Tuck*/ (modeled after Justin Tuck: S02EP01), Terminator Boyd Sherman /*T-Sherman*/ (modeled after Dr. Boyd Sherman PH.D.: S02EP06), and T-Kaplan (modeled after Detective Kaplan: S02EP07). John seems he's already known them all. They all have cuts and burns on the faces.

The larger squad of Alliance force absorbs John's squad. John Henry joins with John and Cameron.

JOHN  
>You okay? Where are the Weavers?<p>

JOHN HENRY  
>Ms. Weaver was captured into a box.<br>I tried to find Savannah but she wasn't  
>around this place. I sent Nevlin and<br>Nelson to tell the air force the news  
>about us.<p>

CAMERON  
>Maybe Weaver's child was captured too.<p>

JOHN  
>Are all of you ready to attack now?<p>

JOHN HENRY  
>We are always ready. How about you?<p>

JOHN  
>I'm ready. We're ready.<p>

Victoria reaches them. John Henry turns to Victoria. Then the rest does the same.

JOHN HENRY  
>Victoria. Can you find the safest way?<p>

VICTORIA  
>No, sir. I found Skynet reserve force<br>was heading to us.

CAMERON  
>How many?<p>

John looks worried.

VICTORIA  
>Twenty HK-VTOLs, a hundred T-900 endos,<br>thirty Centurians, and two Orges.

CAMERON  
>I think we can infiltrate the Century.<p>

JOHN HENRY  
>Who is gonna do so?<p>

John steps forward. He seems ready. They all turn to him.

CAMERON  
>Not you, John. It's not safe. You will...<p>

JOHN  
>Nowhere is safe for me, nowhere.<br>(beat) Beside, I have to get pass  
>the dangerous place to find the<br>safer one.

JASON  
>I'll go with you, John.<p>

JOHN  
>Thank you, Jason.<p>

Cameron can't allow him go without her. You know this as well.

CAMERON  
>Okay, John. You can go but<br>I'll go with you.

John turns and gives her a small smile.

From SW now, Derek and Kyle run to them.

DEREK  
>Connor, we got a big problem.<p>

KYLE  
>Skynet sent another squad go by an<br>roundabout route to our base.

JOHN  
>Where is the air force?<p>

KYLE  
>They are gonna come.<p>

JOHN HENRY  
>We shall send you half of our endos.<p>

The eyes glance at John Henry.

JOHN  
>But John Henry, we will...<p>

JOHN HENRY  
>We have not much time for more discussions.<br>We need to fight against them with all we have.

Derek turns to John Henry and does thing he never did to a machine, he gives him a smile. That's so friendly.

DEREK  
>Good speech, Metal boy.<p>

JOHN HENRY  
>Thank you.<p>

DEREK  
>Please shut up.<p>

JOHN  
>So Derek...<p>

Derek and Kyle both turn to face John, get attention on his command and his plan.

JOHN (cont'd)  
>...you and Kyle lead your men and the endos<br>encounter the machines at Serrano Point.  
>We have to win this long night.<p>

DEREK  
>Okay.<p>

Derek and Kyle both turn to leave and...

JOHN  
>Good luck to both of you.<p>

They turn back to him and smile. This means a lot for John. They turn and then run to their way. Some of T-ZM endos backward John's squad run after them. Those endos all have their RSB-80 plasma machine gun.

ON JOHN'S FACE, his tears fall down. He smiles so proud.

JOHN'S POV.: The tears flood on his eyes as his only one focus is at Kyle Reese, his father. They run to face their destiny in SW and he doesn't go with them.

Cameron steps toward John, her hand on his shoulder, trying to console him. He immediately wipes his tears and turns to face her. His smile form on his face...

...So does she, Cameron smiles back to John and then they both turn to look at their destiny: Skynet Century Work Camp.

INT. HOLDING ROOM – NIGHT

This looks like the old holding room of Savannah and Patrick. Savannah and Patrick both are thrown into the room. The door closes. Patrick got hurt and injured around his body. Savannah's left arm seems broken. She holds her arm by another, she turns to look at him, all her worry is gotten on his painful injured. She crawls to him. Her voice is worried about him:

SAVANNAH  
>Patrick? Are you alright?<p>

Not respond.

SAVANNAH (cont'd)  
>(louder)<br>Patrick, are you okay?

PATRICK  
>(weakly)<br>I'm okay.

Patrick tries to sit up but he can't.

SAVANNAH  
>You need help.<p>

Savannah supports him up to sit beside her. Rests his back against the wall. Her eyes show worry. It means something more than that during their relation.

SAVANNAH  
>This may be so pain.<p>

Patrick, turns to face her, his breath is fast, his eyes show tired and his voice is more weakly.

PATRICK  
>(weakly)<br>It's okay. It's okay, Savannah.

Savannah's tears come out from her eyes. She has a heart of gold.

Patrick, weakly smiles and slowly touches her tears with all force he has at that moment.

PATRICK  
>Don't cry, Savannah. Tears never help<br>anything better. I'll try to find  
>another way to get out of here.<p>

SAVANNAH  
>I'll be okay, Patrick. I'm worrying<br>about you.

PATRICK  
>Don't worry. I just need to get<br>some sleep. These wounds will  
>be healed.<p>

Savannah wipes all her tears and looks at him as he slowly closes his eyes, falls asleep. She turns and rests her head against the wall, closes her eyes and sleeps.

SOUNDS OF LARGE EXPLOSIONS. These wake them up.

SAVANNAH  
>What the hell was that?<p>

They turn to face each other and we cut to:

EXT. BATTLEFIELD – CENTURY WORK CAMP AREA - NIGHT

FULL SHOT

The battle between the resistance fighters and Skynet, begins in the hell night of the world. Plasma blasts, large explosions and many effects are around the battlefield.

E.C.U. RUINS IN THE BATTLEFIELD. A T-ZM endo aims a SAM toward the HK-VTOL that flying low toward it. Fires. And we track that HK as a shot gets it, sending it down to the ground in fiery explosion. Insert our frame with fire and we quickly dissolve to:

EXT. NEAR WESTWOOD - NIGHT

Cameron, Jason and John are hiding beneath some camouflage netting. They are all with their plasma rifle.

Like the Skynet area, just about all of the loose rubble has been removed. Many low buildings on the nearby movie lot have been repaired and are being used by Skynet.

Not far away, human PRISONERS are scattered about, under the watchful eyes of cameras, sensors, and roaming HKs of various size and abilities. Not many endos.

Carefully, but without too much stealth, Cameron, Jason and John search for and find a hidden entrance into a basement of what used to be an apartment building.

JOHN  
>Quickly, follow me.<p>

INT. CENTURY BASEMENT - NIGHT

Cameron and Jason keep watching as John opens what used to be an electrical panel. Inside is a jury-rigged assembly of connectors attached to a tangled network of wires and cable. Jason doesn't keep watching at all, sometimes he flashes a turn to look what John is doing.

From an adjacent wall, John wheels over a trunk whose wheels are hidden. He opens the trunk, pulls out a monitor, a totally hacked/modified keyboard, and a cable with a multi-pin connector.

In the box, he flips the switch on a black box. The monitor springs to life.

John takes the cable and gives the connector a strong twist. What seemed to be an electronic connection has been hiding a fiber-optic connection. He hooks it up to a connector in the electrical panel. John sits at the monitor and starts punching keys on the keyboard, which brings up-

ANGLE ON MONITOR

A 4-up of Skynet surveillance video throughout Century Work Camp. Some show prisoners outside working. Some show prisoners being tortured. Some show prisoners inside awaiting orders.

JOHN (O.S.)  
>We have to help them all out of here.<p>

PULL OUT, John turns back to see both Cameron and Jason who walk toward him.

CAMERON  
>John, someone is coming.<p>

They all search for and find their places to hide. John and Cameron hide behind a big case nearby. Jason hides at the pillar in front of Cameron and John.

WE PAN AND MEET WITH A MAN at the dead end of the basement. He wears a uniform of Greys(Grey track suit like Kaliba fighters). And we seem familiar about his look.

As the man step closer(enough close), his look is clear and we know him –- CHARLIE FISCHER /*Charles Fischer*/ (S02EP09).

Fischer gets attention on the monitor.

FISCHER'S POV.: Looks at the monitor, and finds the silhouette of John's and Cameron's. They are careless for that.

Fischer, shows his plasma rifle and aims toward them.

FISCHER  
>Funny, Tech-com. You two get out now.<p>

Fischer draws the cock.

John and Cameron both quickly stand up, their hands over their heads like they are losing ground to Fischer. If you notice their looks, you will know they have plan.

FISCHER  
>You teenage kids are very brave.<br>Anybody else here?

Cameron and John turn to face each other and turn back to Fischer, acting like nobody else is here with them. They trick him soundly.

FISCHER  
>No weapons?<p>

They shake their head.

FISCHER  
>Okay. First, you girlie step to me or<br>I'll kill your boyfriend.

Cameron turns to John who NODs accent. Cameron turns and steps toward Fischer, her face shows emotionless like a terminator but it seems Fischer hasn't noticed that.

When Cameron reaches Fischer, she suddenly grabs his weapon together with kicking him away.

Cameron then aims her new rifle toward Fischer who has fallen on the ground.

CAMERON  
>Stand up, Charles Fischer.<p>

Fischer looks frightened.

FISCHER  
>How did you know my name?<p>

CAMERON  
>I heard a lot of your story from Derek.<br>(beat) Get up, Fischer.

John and Jason show up and walk toward them with their plasma rifles. Fischer looks around with fear.

JOHN  
>You may bring us through the machines<br>to meet the prisoners more easily.

CAMERON  
>We won't kill you if you help us.<br>Choose your choice, die or alive?

CLOSE ON FISCHER'S EYES. They swing around with fear.

INT. SPIRIT LAB – NIGHT

"The Myalo" has been moved out. No altars. The lab looks cleaner than we see in F03EP07.

E. BOYKINS sits on a chair at the center of the room. There is a chrome skull cap on his head. Emma stands beside him, looking toward the large monitor that is showing his brain's efficiency and electroencephalogram. His brain works faster than common human but that's not special for a psychic.

E. BOYKINS  
>How is it?<p>

EMMA  
>Everything's fine. Your brain works fast<br>but from the result...

E. BOYKINS  
>What's wrong?<p>

EMMA  
>Put the cap off and look on the monitor.<p>

E. Boykins puts the chrome skull cap off, stands up and looks at the monitor. It shows the result from deep scan. It's good. Nothing's negative.

EMMA  
>Your nervous system works normally.<br>But your brain will tire if you use  
>too much mind power. It'll be like<br>that for awhile. I think you will be  
>ready for a big job in the future.<p>

E. BOYKINS  
>You mean about Russia?<p>

EMMA  
>Our forces seem ready. All 700 re-programmed<br>cyborgs passed the test. Englishes joined  
>us, it affected Indians joined us. We now<br>have enough forces to fight them.

E. BOYKINS  
>Not now Emma.<p>

The monitor is clear from those scientific programs. It shows the photo of Allison's.

EMMA  
>Allison is your problem.<p>

He turns to face Emma. His anger grows, he exhales hard.

E. BOYKINS  
>Don't think like that, Emma. She's my wife.<br>She's only one who will never be my problem.  
>It's me who is gonna be her big problem.<p>

EMMA  
>How can you say so?<p>

E. BOYKINS  
>My dad would say so if he was still alive.<p>

EMMA  
>I'm sorry.<p>

E. BOYKINS  
>For what?<p>

EMMA  
>For telling you that Allison is a problem.<p>

He exhales hard once more and turns to her, forms a smile.

E. BOYKINS  
>Never mind. We are friends.<br>(pauses)What time is it now?

EMMA  
>3:30 AM.<p>

E. BOYKINS  
>Allison will be upset if she gets<br>up and doesn't see me in the room.

Emma smiles so funny.

EMMA  
>So. Is she your wife or your kid?<p>

E. BOYKINS  
>She's still my wife even she's childish.<br>Besides, everyone is childish. Everyone  
>has puerility.<p>

EMMA  
>This is what I still don't understand.<p>

E. BOYKINS  
>You might someday.<p>

E. Boykins turns to leave.

EMMA (cont'd)  
>You are gonna do things in stupid way<br>and I still don't understand it. Please  
>tell me why. Your father said like you.<br>And I never understood what I tried to  
>understand.<p>

He turns back to her with a friendly smile.

E. BOYKINS  
>Someday you will understand more about<br>humans. We love, we live and sometimes  
>we do things absurdly.<p>

He turns away from her and goes to the door which automatically opens to let him exit from the lab.

FADE OUT.

**END OF ACT ONE**

* * *

><p><strong>ACT TWO<strong>

**(We'll meet again)**

INT. DAKARA MEETING ROOM – DAY

ANGLE ON THE BOX ON THE TABLE. It's the same box that previous future E. Boykins gave to Dr. Mary Buhai.

MARY BUHAI (O.S.)  
>He gave me and said that it's a "hope".<p>

FULL SHOT. Sarah Connor, Semina Cruel, Lampage Moore, Dr. Mary Buhai PH.D., Dr. Felicia Burnett M.D., James Ellison, Matt Murch, and Prof. Dr. Maniduang Pichitchai, all stand around. Their attentions are gotten on both the box and Mary.

MARY BUHAI (cont'd)  
>I don't know what it means. I think<br>there must be something important  
>inside this box.<p>

SARAH  
>I think I understand what it means.<p>

Eyes glance at Sarah who turns around to look at everybody. She sighs then. She looks down to the box and starts explaining:

SARAH  
>When Cameron brought us to the vault<br>at Security Trust of Los Angeles, she  
>told me that the engineer got a job<br>building that vault. We found a weapon  
>what was created by the best engineer.<br>After John asked her what it was. She  
>answered, 'hope'.<p>

Sarah looks up to Mary.

MARY BUHAI  
>Interesting story, Ms. Connor.<p>

SARAH  
>I want to meet him.<p>

MARY BUHAI  
>You mean about E. Boykins?<p>

SARAH  
>I meant so.<p>

ELLISON  
>Okay.<p>

They all turn to face Ellison.

ELLISON (cont'd)  
>Then how we can know what is inside this box.<p>

MURCH  
>The box is secured. If we're wrong,<br>the contents of the box will be destroyed.

SARAH  
>I think I know the password.<p>

MANIDUANG  
>Please be careful.<p>

Sarah NODs confidently.

SARAH  
>The password is 21042011. Judgement Day.<p>

Murch pries the clear cover off the keypad and presses the keys he got from Sarah.

CLICK...the box opens.

Everyone looks into the box.

E.C.U. INSIDE THE BOX.: It's some kind of weapon looks like a Taser. The model isn't in the present world. It looks powerful. A note is under it. How hope is it.

SARAH (O.S.)  
>What the hell was this?<p>

INT. DAKARA MEETING ROOM – LATER

Sarah now stands with a note. It was from the box. That weapon is on the table. Everyone gets attention on her.

SARAH  
>(reading)<br>Hello again, I'm so proud to give that thing to you.  
>It was very easy for me to create it. It's a hope for<br>you tonight. Please stop Judgement Day and save  
>everyone I love. Its voltage is enough to stop a<br>machine in one shock. It can stop the triple eight.  
>We'll meet soon enough, Ms. Connor.<p>

Sarah lowers the note.

INT. ALLISON'S BEDROOM – NIGHT

ON THE BED. Allison Pichitchai coils up on the bed. The blanket hasn't covered her. She trembles from the cold air.

SOUND OF THE DOOR OPEN. E. Boykins walks in scene and quickly walks toward her.

CLOSE ON THEM.

E. Boykins sits on the edge of the bed and slowly cover her a blanket. He looks happily. He gently stokes her hair. As he does so, he whispers to her:

E. BOYKINS  
>You are very lovely, Allison. I know it's a stupid<br>thing to do this with you. I'm a psychic but you  
>indeed know I'm still a human. I want to be a common<br>human like everyone. I'm sorry for taking you into  
>a risky way.<p>

His tears start flowing from his eyes during that.

E. BOYKINS (cont'd)  
>I'm sorry for taking you away from your homeland.<br>I'm sorry for everything you left for me.

ALLISON  
>Nothing to be sorry for, Stefan.<p>

Allison wallows to face him.

E. BOYKINS  
>I'm sorry for...<p>

Her finger silences him. As she shakes her head and leans closer him, she talks to him in hush tone:

ALLISON  
>I said, 'Nothing to be sorry for'.<p>

She lowers her finger as another hand pulls him closer and then they close their eyes and kiss. They keep their kiss hard and so deeply. It's like their aortas attach to each other. Their breaths fasten. This moment, no one can stop it except they stop it themselves.

E. Boykins, gently pulls her out. They look each other in the eyes, almost melt their hearts and fuse with each.

ALLISON  
>What's wrong?<p>

E. BOYKINS  
>Are you sure?<p>

ALLISON  
>I am.<p>

Allison flashes a kiss on his cheek.

E. BOYKINS  
>You are so human, Allison. Ruled by your hormones.<p>

ALLISON  
>What about you psychic?<p>

E. BOYKINS  
>We...I control my body, my hormones, everything.<br>But you know what? (smiles) I'm still a human.

ALLISON  
>Sounds a bit you need me too?<p>

He NODs. This seems to be a bad start for sex.

E. BOYKINS  
>I'm ready to sacrifice everything for you.<br>I'm ready to live the rest of my life for  
>you, for my family. You die, I die. You're<br>happy, I'm happy. If the machines learned  
>more about love, they wouldn't have to<br>destroy us, they would be our friends.

ALLISON  
>I think so.<p>

E. BOYKINS  
>Nothing can stop us, Allison. Religions,<br>nationality, age, lineage, these all can't  
>stop us. So let's love each other.<p>

ALLISON  
>We should do so right now. Sexual relation<br>during pregnancy isn't harmful, Stefan.

E. BOYKINS  
>I know...I know.<p>

E. Boykins leans closer her again and then they kiss. Her back leans against the bed. They still keep the kiss hard. He gives her a consecutive control of the kiss as their lips slide and suck at each other, the tip of his tongue fencing with her until he grants it access to his mouth where they wrestles in a sensuous massage. One of her hands worms into his hair, cupping the back of his head and he mirrors her action. His fingers find her hair, lustrous, soft and silky as they slide through it. His other arm wraps tighter around the small of her back. They pull over, letting Allison is on top of him.

Allison breaks the kiss herself and pulls her nightdress off then puts her bras off, quickly revealing her beautiful top-naked body. He smiles to her and she pulls his nightshirt off. Then she leans and they kiss passionately. His hands slowly slide down to her undies. His mind slides it down along her legs: Finally her undies are on the edge of the bed. They break their kiss again and Allison's hands slide down and pulls both his underwear and his trousers off at the same time.

His arms wrap around the small of her back, pulling her tighter against him, her nipple hard, hot little points that poked against his chest, surrounded by the soft warmth of her breasts. They both gasp as his dick gets inside her vagina for the first time. They both breathe fast every time he penetrates her.

E. BOYKINS  
>We are connected.<p>

ALLISON  
>(moaning)<br>Yes. Yes. We are connected.

E. Boykins squeezes the perfect handful of firm but pliant flesh that makes up her left breast, weighing it and fondling the smooth skin, letting his thumb circle, but not quite touch the turgid peak of her nipple. She moans softly and rolls her shoulder, pressing the globe of her breast into his palm and caressing fingers. Boykins shifts and lowers his head, running his tongue along the valley of her cleavage before accepting the tempting invitation of her stiff nipple and wrapping his lips around it. He draws the firm, rubbery tip into his mouth, testing it lightly with his teeth before he begins to suckle at it, tasting her flesh and making her moan and slowly writhe on the bed. They wallow until he gets on top of her. Allison strokes his hair by her left hand.

ALLISON  
>(moaning)<br>I want you inside me again, Stefan.  
>I need you inside.<p>

Allison grasped the base of his cock and gently tugs at him, urging him to move on top of her and between her invitingly spread legs as she rolls onto her back. He lets her guide him, feeling the heat of her sex against the tip of his dick before he feels her slick folds envelope it as she slides him through them. He takes a deep steadying breath, as his stomach tenses as she well as his buttocks as she seats him at her entrance, which contracted slightly to squeeze the tip of his dickhead. He looks down at her, her dark brown hair a tumbled, curly halo around her pale angelic features, eyes bright and lips kiss-swells as he hovers over her. She smiles up at him and he feels her hands slide down his back; her fingertips leaving tingling trails that make his muscles twitch. Her fingers find the tense globes of his ass cheeks and clench around them, pulling him toward her. He grunts and it mixes with her sharp gasp as he thrusts forward and slides into her.

E. Boykins kisses her again and overpowers her beaver by his full length, driving in and out of her hard, harder and as hard as his mind can control his body to do. Her cry is always loud and it moves to his sex, increasing his power to penetrate her. He lowers his head into the crook of her neck his breathing becomes heavy as he slides himself in and out of her. He slides more powerfully and she cries out of more pain, more painfully. Allison quickly wraps her arms around his neck, she rolls him down on the bed with all strength she has, and she gets on top of him, their bodies never disconnect. They are one, she sits up on him his full long dick going deep inside of her. She sobs and leans down to kiss him.

E. BOYKINS  
>(whispering)<br>It's okay.

He takes her hips firmly in his hands and bounces her up and down. She cries happily. They are now near indescribable state of paradise.

ALLISON  
>Harder. Faster.<p>

He does so. It's a while before he rolls himself over her and continues penetrating her. She cries louder. Her flesh fights his invasion with the sweetest of resistance, clutching and squeezing at his rock hard shaft, adding to the friction of his passage as he fills her and she stretches to accommodate him. Her flesh drags along his shaft with molten heat and massaging pressure. They groan, his back arching and his head dropping back as he drives into her. He may feel the smooth skin of her inner thighs slide along the outside of his as she draws her legs up and wraps them around him as his pelvis meets hers and he is buried completely in her intimate core. He drops his head as he forces himself to relax, panting heavily with the effort as his balls boil with the need for release. They finish their sexual intercourse with a powerful climax. They chuckle then.

ALLISON  
>It was so fun, Stefan.<p>

E. BOYKINS  
>Like I said, I'm still a human. I feel and<br>I love it and I love you more than this, more  
>than everything in the world.<p>

ALLISON  
>Lie with me. Please don't leave me alone.<p>

E. BOYKINS  
>I won't promise.<p>

That changes Allison's look.

With her anger, Allison pushes him out of her and turns her face away from him. Childish, Allison sulks again. She is tearful.

E. Boykins, sits up and looks at her. He smiles amorously and slowly gets closer her, trying to lie close her. She moves away. He reconciles, he wraps his arms around her. She still sulks but she can't resist him.

E. BOYKINS  
>Allison, I love you.<p>

ALLISON  
>(angrily)<br>But why don't you promise me?

E. BOYKINS  
>I can't promise for what I'm not sure to do.<br>(sighs)I promise I'll try not to leave you  
>if I can. Is it okay now?<p>

Allison smiles and lets her anger decrease, turning her face to look at him.

E. BOYKINS  
>I want to make sure before I promise<br>what you asked me to.

E. Boykins smiles as his mind is afraid. Allison smiles back and flashes a kiss on his cheek.

ALLISON  
>It's okay, Stefan. I think I understand.<p>

E. BOYKINS  
>Thank you.<p>

ALLISON  
>So lie with me. I think we're tired.<p>

E. BOYKINS  
>That's right.<p>

Allison closes her eyes. E. Boykins kisses on her hair and then closes his eyes, lies with her. We zoom out but still keep watching them.

DISSOLVE TO:

INT. DAKARA SERVER ROOM – DAY

E.C.U. THE CHIP on an interface molecule. It works as everyday.

MURCH (O.S.)  
>No. We can't transport her.<p>

FULL SHOT, revealing Prof. Dr. Maniduang Pichitchai, 7-years-old Stefan, Matt Murch, Emma Akagi, Sarah Connor, and Lampage Moore are inside the usual server room. With that speech, they turn to face Murch.

MANIDUANG  
>Maybe you are wrong.<p>

MURCH  
>You don't understand. As I explained to Ms. Weaver,<br>John Henry exists largely because of its exact  
>configuration. Emma is like John Henry that way.<br>Her system is smaller but she still exists largely  
>like John Henry. If we move her we might not get<br>her back. It's...sort of... tweaked her.

SARAH  
>Maybe we should let her go, let her die.<br>It'll be safer if there's no AI in this  
>world anymore.<p>

Emma lowers her head in fake sadness like a child. That grows Maniduang's anger so much. She turns to Sarah with much anger. Exhales hard. And smiles mincingly.

MANIDUANG  
>(calmly)<br>That sounds a bit like ingratitude.  
>We Asians forbid gratefulness.<p>

Sarah smiles funny. Emma is thinking about herself.

SARAH  
>But I'm not Asian. I'm not one of those<br>nationalities. I care only just many  
>billions humans who may die on Judgement Day.<p>

LAMPAGE  
>You are ungrateful, Sarah.<p>

SARAH  
>No. I'm not.<p>

MANIDUANG  
>You know what, Sarah? You wouldn't be alive<br>if she didn't want to help you many months ago.  
>(a beat)<br>You couldn't save your friends if  
>she didn't want to save humans.<br>(a beat)  
>And you wouldn't stay here if she didn't<br>want you here.

Sarah is stunned after that. Emma looks up to Maniduang with fear in her mind...Oh no! I said wrong...it's with fear in her system. This machine seems agonized.

Sarah turns to look at her in the eyes.(Scenes insert: Emma plays a game with Savannah, Emma smiles so friendly to Sarah, Emma laughs funny; a lot of them show all about Emma in Sarah's mind)It's a while until...

SARAH  
>I'm sorry, Tin Girl. I'm sorry.<br>I shouldn't say that.

This can be the first time Sarah apologizes machine. Emma looks at her and gives her a friendly smiles.

EMMA  
>That's alright, Ms. Connor. We're friends.<br>Does this make us friends, Ms. Connor?

Sarah pauses, she can't say or maybe she has never thought that machine can be her friend.

MURCH  
>Okay. So can you tell me about how to move her?<p>

MANIDUANG  
>I don't think we have no way to protect her.<br>We can't destroy her or let her die. She can  
>be the second choice for us if we can't defeat<br>Skynet and Kaliba tonight.

LAMPAGE  
>I think I have the way.<p>

Eyes glance at Lampage Moore.

MANIDUANG  
>Are you sure?<p>

MURCH  
>Emma isn't like John Henry. She will possess<br>the whole chip. Her system can't share  
>internal memory with anyone, you will...<p>

LAMPAGE  
>This is my last mission.<p>

STEFAN  
>No. Lampage.<p>

ANGLE ON Lampage, the terminator, turns to Stefan, crouches down to his level. Stefan looks worried.

STEFAN  
>No. Don't think like that.<p>

LAMPAGE  
>This is only one way, Stefan. I'm sorry.<br>Only just me, this way. My chip is compatible  
>with T-888's body and T-950's body.<p>

STEFAN  
>You can stay with us. Please Lampage.<br>That way will kill you, delete you.  
>We can find other chip for her.<p>

Lampage smiles oddly.

E.C.U. STEFAN'S FACE. His tears start flowing.

Terminator Lampage puts his hand on Stefan's shoulder. He moves slightly. He reaches toward Stefan's face. His finger touches the tear trickling down his cheek. Sarah and Murch both look at his action. For Sarah, this is familiar, THE TERMINATOR once did this for John many years ago. That action seems to catch off Murch.

More surprise, Lampage's eyes, they defecate the water hell things like tears out. He's like Cameron this way. Maybe the TOKs and those Zeira Model Terminators can do so.

LAMPAGE  
>I know now why you cry. I know now why you<br>program us all to cry. We'll meet again.

Lampage reaches his pinkie to Stefan, his smile looks friendly.

LAMPAGE  
>I promise we'll meet again.<p>

Stefan wipes all his tears. He hooks his little finger with Lampage. They lock eyes. Comrades. Family.

STEFAN  
>Are you afraid?<p>

LAMPAGE  
>Afraid?<p>

STEFAN  
>Yes. Afraid. Are you afraid?<p>

Lampage stands up.

LAMPAGE  
>I think yes.<p>

Maniduang walks toward Stefan. Her hand on his shoulder. Her eyes look at Lampage. Maniduang reaches another hand out to shake with his hand.

MANIDUANG  
>I'm glad to work with you.<p>

LAMPAGE  
>Tonight is out of my data. Maybe you can change<br>things. Maybe the fate can be changed.

SARAH  
>We'll defeat Skynet tonight, Lampage.<br>I don't care what you told me. Reese  
>told me that the future is not set,<br>and we can change it.

LAMPAGE  
>I already told you. Okay. Don't be<br>careless. These are the last words  
>I can tell you. All missions are<br>complete now.

Sarah smiles confidently.

SARAH  
>Thank you for explaining. Do your last<br>mission and I will stop Judgement Day  
>at all costs. I promised my son and<br>I can't renege.

LAMPAGE  
>What if you can't change it?<p>

SARAH  
>I'll die with it.<p>

Lampage smiles oddly.

LAMPAGE  
>So don't mind what I said, Sarah.<br>I have to go now.

SARAH  
>So do I.<p>

Lampage steps toward Emma who stands up to face him. He drops to one knee, bends his head down like the loyal knight meets the monarch.

ON HIS HAND: He opens the blade of his automatic knife and hands it to...

...Emma who is still afraid for what she's doing. In b.g., Stefan leans his head on his aunt's forearm. Sarah folds her arms over the chest.

LAMPAGE  
>Do it.<p>

Murch crosses his arms and gets attention on what Emma's gonna do. It's engineer brain in his mind.

Emma slowly and carefully, cuts open a flap on his head. She opens the port cover.

LAMPAGE'S H.U.D.: He looks down to the floor and his system now warns him: "**Port Open**". It's really like Cameron's system when her port cover is being opened. Emma pulls the chip in the out of the frame - there is a BURST OF STATIC and the screen goes BLACK. And...

E.C.U. THE CHIP THAT EMMA HAS PULLED OUT. Emma's eyes look at it in b.g. The chip looks more like Cameron's and other TOKs' than T-8xx or T-9xx. Emma's eyes look up to...

...Lampage, Eyes open, he is completely inert. Dead. It's like rigor mortis. He's like a statue.

FULL SHOT. Emma still holds the chip carefully in her hand. Sarah and the other, walk closer them. The eyes look at the chip. Sarah knows and gets in with it.

SARAH  
>It looks very like Cameron's.<br>Maybe it can be the same.

MURCH  
>Can I look at it, Emma? Just awhile?<p>

Emma then hands it to Murch who examines it. His eyes widely open. It's really awhile before he hands it back to Emma.

MURCH  
>It's very interesting.<p>

EMMA  
>I know.<p>

Emma tries to hand it to Murch.

EMMA  
>I think I need your help, Mr. Murch.<p>

Murch smiles friendly but takes it then. Emma hands him the knife. Murch steps closer Emma. She closes her eyes. He does the same Emma did to Lampage but faster(because if he does it slowly, her skin will heal itself) and suddenly inserts the chip into the port and closes a flap. Like every T-9xx, her cut quickly heals itself in a few seconds later.

CLOSE ON EYES. The cyborg's closed eyes have a blue glow beneath the eyelids before opening. The blue glow disappears almost immediately after opening.

Maniduang is pleased.

MANIDUANG  
>Hello. Who are you?<p>

Emma stands up, looks through Maniduang to Stefan.

LAMPAGE  
>Good bye, Stefan. We'll meet again. Bye.<p>

STEFAN  
>Good bye, Lampage.<p>

Emma closes her eyes again. They all look at the main monitor.

INSERT MONITOR.: The main monitor shows a new dialog box with a process bar, and a statement: "wireless data transfer". It works fast. And it's perfect. It's complete in a half minute.

They then look at Emma again. Her eyes open. Unhurried, Emma touches her face. A tear escapes an eye. She looks down to the body of Lampage's. It's still the same posture.

EMMA  
>We'll meet again someday.<p>

INT. ALLISON'S BEDROOM – MORNING

ALLISON PICHITCHAI sleeps and is alone in her room. Her body is covered with a blanket. She's still naked beneath it. Her uniform is on the edge of the bed, E. Boykins might prepare it for her.

WE SLOWLY ZOOM IN AT ALLISON.

It's awhile before she wakes up, turning around to find her husband. You know he's not here.

ALLISON  
>Stefan.<p>

Allison turns around and stops at a uniform.

ALLISON'S POV.: There is a small sheet of paper on it. Allison's hand takes the note up to read. The outside of the note was addressed to Mrs. Pichitchai. And the inside:

"_I'm hoping you won't wake and notice my absence, but, if you should, I'll be back soon. I've to do my duty. It's  
>time for my soldiers every morning. Your breakfast is in the refrigerator. I hope you'll like it. It's all I can find for you. Eat it and I'll come back. I love you - Stefan.<em>"

Allison lowers a note down. She sighs. It's late morning now. She gets up with her blanket is wrapped under her arms. She ends at the refrigerator, she pokes around in the fridge until she finds all her breakfast. She takes it out and we see a plate of rice with fried basil leaves with pork(it's called "Pad Kra Pao"). It can be a delicious food this morning.

Allison goes to the table inside the room, puts it down, sits on the chair and she starts eating it. It's very cool for Allison for just five or six bite, then it takes another experimental bite; She chews twice. Ugh — definitely bad.

She runs to the bathroom at the same time E. Boykins who wears tails, enters the room. He calls after her:

E. BOYKINS  
>Allison.<p>

He realises something is wrong, quickly runs into the bathroom.

INT. BATHROOM – CONTINUED

AT THE SINK. Allison has a morning sickness, she vomits onto it continuously and E. Boykins gently caresses on her back. He seems like knowing how it is as well. She turns on a tap and slowly looks up to him, she looks very bad.

E. BOYKINS  
>Are you okay?<p>

Allison smiles warmly.

ALLISON  
>Don't worry about it.<p>

E. BOYKINS  
>We've to find out things you can eat or not.<p>

His hands both fondle around her belly, feels the baby. They smile to each other. She looks very happy. She looks down to her belly and fondle it too. And she looks back at him.

E. BOYKINS  
>You have to eat for it.<p>

ALLISON  
>This baby might be happy if it saw us at<br>this moment. I'm so happy and proud to  
>have you. I'm very proud to be your wife.<p>

They look themselves in the mirror. It's really a happy moment.

E. BOYKINS  
>I think I got one.<p>

ALLISON  
>One what?<p>

E. BOYKINS  
>One thing you can eat and it contains<br>many useful nutrients. It's a luck for  
>you who can drink it.<p>

Allison smiles and brushes.

ALLISON  
>What's it?<p>

E. BOYKINS  
>Not many people can drink it during<br>pregnancy because it's very fishy.

She turns to face him, she seems realizing what it should be.

ALLISON  
>Buffalo milk, isn't it?<p>

E. BOYKINS  
>I think so. You are very clever, Allison.<br>Let's take a shower and I'll show you  
>something. I'll bring you to see someone.<p>

ALLISON  
>I don't like a secret.<p>

E. BOYKINS  
>I know. I'm going to show all my secrets<br>today. We are couple and I think we should  
>not keep any secrets from each other anymore.<p>

E. Boykins leans and kisses her. As they kiss, his arm reaches toward the door. His mind closes it.

FREEZE: THE DOOR.

INT. ALLISON'S ROOM – LATE MORNING

ALLISON AND E. BOYKINS both are at the table. Allison wears her uniform now and drinks a glass of Buffalo milk. On her plate, it's just some kind of biscuit. Boykins eats what Allison couldn't eat in the last scene, Pad Kra Pao. Allison seems to like Buffalo milk.

ALLISON  
>I like it even it's very fishy.<p>

E. BOYKINS  
>That's very good, Allison. Lucky.<br>You know what? Buffalo milk contains  
>many useful minerals you need during<br>this pregnancy.

ALLISON  
>Can you bring me a dozen bottles of<br>buffalo milk everyday?

E. BOYKINS  
>It'll do what I can do for you, Allison.<p>

Boykins continues eating as Allison starts her biscuit. Boykins eats very quickly, he finishes his plate in awhile. Allison still eats her biscuit slowly.

He looks up and keeps his eyes on her, getting attention at Allison's every movement. He smiles happily. At that time, she almost finishes her biscuit.

E. BOYKINS  
>You are very pretty, Allison.<p>

She finishes the last bite, looks up and smiles back at him. Her smile is very warm. It completely melts his heart.

ALLISON  
>Thank you.<p>

E. BOYKINS  
>Okay. Now you finish your breakfast.<br>I think it's the time to bring you to  
>see someone.<p>

Allison seems interesting in what he said.

**END OF ACT TWO**

* * *

><p><strong>ACT THREE<strong>

**(Tonight belong to us)**

INT. PASSAGEWAY – PSYTECT CORP – MORNING

This passageway looks good. It's in Psytect Corp. Allison and E. Boykins walk into the passageway. They still walk forward but slower while they're saying.

ALLISON  
>English navy finished the factory in the<br>gulf of Thailand for you. So what's your  
>next plan?<p>

E. BOYKINS  
>I'm going north. The last battle in<br>this land has to start.

ALLISON  
>Are you sure about those cyborgs?<p>

E. BOYKINS  
>John could do it so I can do it too.<br>I know the concept of reprogramming.

ALLISON  
>If you are sure, I should be sure.<p>

E. BOYKINS  
>Okay. We're here.<p>

Boykins stops and turns left to look at the secure door. Allison looks at the palm scanner.

ALLISON  
>Is this your last secret?<p>

E. BOYKINS  
>I don't think so.<p>

ALLISON  
>Why?<p>

E. BOYKINS  
>Because I'm gonna show you more than this.<p>

Boykins suddenly puts his left palm over the scanner. The authorization is passed and the lock is unlocked.

He turns back to her with a proud smile on his face.

E. BOYKINS  
>Behold.<p>

E. Boykins opens the door and lets Allison see things inside.

INT. STEFAN'S SECRET LAB - CONTINUED

It's very interesting tech lab. Weapons for the future, the hope and the shelves all are with high security authorization. Plasma shotguns, plasma sniper rifles, and the ISOTOPE WEAPON, every weapon is secured by a keypad and bulletproof glass. This feels a lot like weapon production center or something like that.

Allison enters the lab with surprise at all. She seems to never knew what all this is about.

ALLISON  
>What are these?<p>

E. BOYKINS (O.S.)  
>Hope.<p>

Allison turns around the lab as her happy smile shows.

THE SEVERAL CUTS THROUGH ALLISON'S P.O.V.:

a) The one of plasma sniper rifles, it looks a lot like SG550.

b) The isotope weapon, it's the same one Sarah shot Cromatie's head off in the vault in S01EP01.

c) Plasma shotguns all look good. Some are like M3, some are like XM1014.

d) Back at isotope weapon.

Allison seems to interest in the isotope weapon very much. She looks at it fixedly.

ALLISON  
>What's this, Stefan?<p>

ANGLE BEHIND THE WEAPON.: Allison bends her back, keeps her eyes on it. In b.g., E. Boykins starts walking toward her.

One of Boykins' hand is putted on Allison's shoulder. She turns to look at him.

E. BOYKINS  
>This is my directly product. Some of these<br>weapons are from your father's designs but  
>this one is mine.<p>

ALLISON  
>Design is not just what it looks like<br>and feels like, design is how it works.  
>So how does it work?<p>

CLOSE ON THE WEAPON AS E. BOYKINS EXPLAINS:

E. BOYKINS (O.S.)  
>This isotope weapon is a single shot plasma<br>weapon has been built from scavenged parts  
>after J-Day. Some are taken from Thompson SMG<br>that I found in a museum. The rotating magnets  
>create a magnetic environment into which the<br>plasma is injected. Once it has the right  
>temperature, it is injected through a sphincter<br>into the firing chamber. The weapon is then  
>ready to fire. When the isotope solution turns<br>red you can fire. The weapon has two fire modes,  
>in which it either fires a plasma slug or a<br>plasma pulse.

BACK TO SCENE

Allison crosses her arms over her chest. She seems very proud with that. Allison exhales very happily before she turns to her husband who gently reaches his hand to her.

E. BOYKINS  
>Come with me. I'm going to bring you to<br>see someone, someone I owe him.

She takes his hand together with smiling at him with bashfulness.

INT. OUTSIDE STEFAN'S VAULT – MORNING

E.C.U. AT THE DOOR. We freeze at it until the hand enters frame, opens the door, revealing It's dark inside. Light floods in as the door opens wider.

INT. STEFAN'S VAULT – CONTINUED

E. Boykins steps inside. It's awhile before the light is turned on and Allison steps in the room then. The vault is almost empty.

E. BOYKINS  
>Allison, he's here.<p>

Allison turns around and...

ANGLE

TERMINATOR LAMPAGE MOORE wears royal Thai army uniform with the rank of Major. He looks exactly the same as we last saw him in 2010. It's somewhat like John Henry, Lampage is sitting on a chair in the center of the empty vault, he looks up to us and...

LAMPAGE  
>Hello, General Enigma Boykins, Lieutenant<br>General Allison Pichitchai. My name is  
>Lampage Moore.<p>

Lampage smiles oddly.

LAMPAGE (cont'd)  
>How are you today?<p>

ALLISON has been confused now.

ON LAMPAGE, his smile has never faded. His eyes then flash electric BLUE.

FADE TO:

EXT. LAS VIRGINES CANYON – NIGHT

We're at the forest in the area of Las Virgines Canyon in Simi Valley, California, US. From this area, we can't see the road but we see the large secret warehouse in the far away area nearby the canyon. And we zoom in until we reach at a tent locate not too far from the warehouse. Sarah Connor and Prof. Dr. Maniduang Pichitchai stand nearby their tent, they are looking at the far warehouse that should be Kaliba base. They wear their special gray track suits(not like the Greys). Each suit has blue brooch with red tree dots. When we see the guy wear this suit again, we'll suddenly know that he or she is one of those Senior Resistance Fighters –- THE SENIOR RF. They both use their binoculars to look at it.

CLOSE ON THEM.

They both lower their binoculars.

MANIDUANG  
>Are you sure that warehouse is Kaliba?<p>

CUT TO IN FRONT OF THEM.

In b.g., we can see the road at far far away sight but no car gets through there. Sarah brings a sheet of paper up to look. She quickly glances at it before she keeps it.

SARAH  
>Yes, it is. I know Danny wouldn't lie.<p>

MANIDUANG  
>We have to kill those guards. I know<br>you don't want so but we have no choice.

Sarah exchanges her look.

SARAH  
>No, I don't think you will say this.<p>

MANIDUANG  
>Humans who don't love humans, they<br>aren't humans, they are all enemies  
>and we'll destroy them to save most<br>good mankind, Sarah.

SARAH  
>But some in there, just work for salary.<br>They may not know things about their boss.

MANIDUANG  
>So we'll kill just ones we have to kill.<br>Is it okay?

They turn to face each other. Maniduang firstly smiles to Sarah who then smiles back at her.

INT. TENT – NIGHT

James Ellison, Matt Murch, and Dr. Mary Buhai have already been inside the tent. They wear their Senior RF. Suits. All their weapons are Remington 11-87 shotguns.

They look at the plan which might be drawn by Danny Dyson. It's just an easy basic plan. We can see just the empty blocks for office, hall and common room, the CPU for Skynet is in the basement, there are lifts nearby(this is just basic delineation for this plan).

They look intense.

MARY BUHAI  
>With all weapons we have, I think we can...<p>

MURCH  
>We're waiting for Sarah's confirmation.<p>

MARY BUHAI  
>Okay.<p>

Sarah and Maniduang enter the tent.

MARY BUHAI  
>Attack or not?<p>

SARAH  
>We're here to destroy everything inside that<br>warehouse. Danny told me that if we can insert  
>the virus into Skynet main server, the system<br>will twitch for awhile. At that point, we can  
>pull the chip and destroy it and then we win.<p>

ELLISON  
>Let's go. We need to get it's done<br>before they know we're here.

MANIDUANG  
>They knew we were coming. The Dysons were killed.<p>

SARAH  
>What are you talking about?<p>

MANIDUANG  
>Some of those guards told me about the<br>Dysons. They both are dead.

Sarah grabs her shotgun.

SARAH  
>So we should revenge for Terissa and<br>Danny. Tonight belong to us, we must  
>be the kiss of death for Skynet.<p>

At a split second after Sarah said that, she suddenly slides the cock of her shotgun, she's ready now. They all then do the same.

CLOSE ON SARAH'S FACE. She looks confident.

EXT. FRONT DOOR - KALIBA WAREHOUSE – NIGHT

There are two Greys guarding the warehouse front door. Maniduang firstly show up. Those guys immediately turn to her, trying to fight her by their Glocks.

Maniduang can protect herself by her mind power. This makes those guys confused.

MANIDUANG  
>Are you sure you can kill me by those Glocks?<p>

Maniduang's eyes don't show mercy, the eyes look like Weaver's eyes when we saw Weaver in S02EP14.

INT. OUTSIDE DAKARA SYSTEM – NIGHT

THE GUARD is here. He almost falls asleep, it's like that until the lights are turned off abnormally. The guard immediately stands up and turns around.

AT THE FIRE ESCAPE DOOR. The door is opened and four Greys who wear bandanas, step in.

THE GUARD, turns to face those Greys. Too late, they show their TAVOR TAR-21 assault rifles, fire at him before he can respond.

INT. DAKARA MEETING ROOM – NIGHT

SOUNDS OF GUN FIRING FROM THE OUTSIDE can be heard by Semina Cruel, Stefan, Albert Auldridge, Emma Akagi and Savannah Weaver. They wear the Senior RF uniforms too. Only just Savannah seems to be afraid. Semina and Auldridge both reach down under their seat, bring up their shotguns, M3 is Auldridge's and XM1014 is Semina's. They both then turn to Emma.

SEMINA  
>Emma, you take the kids. We'll protect this way.<p>

Emma nods and takes both Savannah and Stefan out of this room through another way.

INT. DAKARA OFFICE/INT. DAKARA MEETING ROOM – NIGHT

The Greys enter the office and then separate into different direction. It's awhile before Auldridge and Semina show up with their shotguns.

AULDRIDGE  
>Hey!<p>

Those Greys turn as Auldridge fires through the glazed door to one of them. That one falls. The rest respond, raking their guns toward the meeting room immediately. Auldridge is fast, he can hide behind the wall.

Semina is at another corner opposite side of Auldridge.

SEMINA  
>How many are they?<p>

AULDRIDGE  
>Four. Now three.<p>

SEMINA  
>Tonight may be easier than we thought.<p>

The gunfire raking stop. Auldridge sends a sign to Semina. Semina nods agreeably.

They show up and retort those Greys. One of the Greys shows up and fires at them. Of the same kind, the Greys fire, duck, and fire again as Auldridge and Semina both fire, hide, show up and fire again. The firefighting completely changes the office into a mess room.

SEMINA AND AULDRIDGE

as they hide behind the wall.

SEMINA  
>They seem stupid.<p>

AULDRIDGE  
>I don't think so.<p>

SEMINA  
>Emma Akagi.<p>

This get both Semina's and Auldridge's attentions at each other.

AULDRIDGE  
>They want Emma. There may be a terminator or<br>more out there finding them while we battling  
>those guys.<p>

SEMINA  
>But Emma is a terminator too.<p>

AULDRIDGE  
>A terminator fighting against another isn't<br>what I'm worrying about. Beside, the kids  
>are with her.<p>

SEMINA  
>Can you fight them alone?<p>

AULDRIDGE  
>Yes. Please go. I'll lead them away.<p>

Semina nods.

Auldridge shows up and fires at the Greys. Semina suddenly runs as he fires, drawing their attention to him.

Semina, runs toward Dakara special fire escape. She kicks the door open and gets out.

Auldridge still fight against Greys alone.

INT. KALIBA HALLWAY – NIGHT

Sarah, Maniduang, Mary, Murch, and Ellison are in the hallway of Kaliba warehouse. It's just an empty hall with three crossways. The walls are all grey painted. Behind them, are unconscious Greys. Those Greys have no bruises, cuts or even scars.

MANIDUANG  
>These guys just fall asleep.<br>So now what's the plan?

Sarah and Ellison turn around.

SARAH  
>Can you go alone?<p>

MANIDUANG  
>No one here can destroy me.<p>

SARAH  
>Okay. I'll go with Mary. You alone.<br>And James goes with Matt. Is it okay?

ELLISON  
>It's okay.<p>

Ellison turns to Murch, sends a sign. Then they go to left way. Maniduang turns to the middle way. Sarah and Mary face each other. Mary cocks the slide of her shotgun.

MARY  
>Let's go.<p>

Sarah nods and then they walk toward their way together.

EXT. ALLEY – NIGHT

EMMA AKAGI ushers both Stefan and Savannah through the dark alley. They look cautious.

Emma stops as she sees a man who rides a motorbike into the alley and parks ten meters in front of them.

CLOSE ON A MAN. He pulls his helmet off, revealing JAMES ELLISON...Oh no!...This isn't the real Ellison. He walks robotically toward them.

Savannah steps forward Emma. Her eyes display happiness/surprise.

SAVANNAH  
>Mr. Ellison.<p>

Emma examines Ellison who slowly and robotically walks toward them. It's awhile before she recognizes T-Ellison.

Savannah tries to run to Ellison but Emma quickly blocks her.

EMMA  
>Be careful. That's not Mr. Ellison.<p>

Stefan slowly steps back. Savannah does the same. Emma still stands guarding these two kids. In b.g., we see another terminator, THE LARGE MAN (same one we saw in F03EP07), walks stealthily toward them.

EMMA  
>Run. I'll destroy this one.<p>

The large man stops at the same time Stefan steps back carelessly closer him. Emma doesn't notice him. He pulls a hype that is full of the green liquid poison.

As those kids slowly turn to leave, the large man quickly injects the poison through the jugular of Stefan's, Stefan falls on the ground then. Savannah screams. That quickly turns Emma to confront the large man backward. She suddenly reaches her left foot, stretching against his chest and kicking him away in a kick boxing manner. The large man bounces off and falls on the ground.

Stefan who has knelt down on the ground, is supported by Savannah together with pulling an empty hype out. Stefan looks a little weaker.

STEFAN  
>What the hell is this?<p>

Emma lowers her foot and quickly turns to him.

EMMA  
>Are you okay, Stefan?<p>

STEFAN  
>Not sure.<p>

WIDE SCREEN. Both the large man and T-Ellison step and block all their ways. Those terminators show happy emotion with that.

LARGE MAN  
>Médium Saboneta Medicamento.<p>

T-ELLISON  
>The psychic hunter.<p>

ANGLE ON STEFAN'S FACE. His eyes open widely with fear.

PULL OUT, Stefan reaches one of his hands toward the large man. It's not effective. He glances harder and then exhales dispiritedly.

T-Ellison quickly wraps his arms around Emma, trying to throw her away from the kids but he can't, Emma kicks flexibly against his head without turning back like Cameron. T-Ellison bounces away from her, his back collides against the wall and pierces through it into an empty room.

Savannah screams again. The large man has grabbed Stefan's collar, and is ready to kill him. Emma quickly turns and barges the large man away. Stefan is safe now.

CUT TO T-ELLISON. His eyes open and glow red. He stands up and walks off the room.

EMMA, has no choice. She turns around. T-Ellison and the large man now glance at them. They are ready to attack.

EMMA  
>Run.<p>

Both Stefan and Savannah turn to look at Emma who nods and quickly punches the wall beside, crumbling it and pushes both Stefan and Savannah inside.

Emma then turns back, and jumps to collide herself against T-Ellison who then bounces off very far. The large man walks toward Emma and kicks her away. She bounces off and attacks the wall before she falls onto...

...large man's hand grabs her neck before she falls onto the ground. Emma takes a few punches onto his chest and smashes his arm by hers. Automatic, he releases her.

T-Ellison stands up but nothing's useful. His head splats.

Emma hears the T-Ellison's demise and sees it fall onto the ground. The sound of the SHOT is delayed.

Emma wheels around searching for the source of her assistant.

EMMA'S H.U.D.: The display is blue hue. She sees everything. On the rooftop of a building far away, a human figure (The Engineer E. Boykins) lowers a .50 caliber rifle and quickly disappears from view.

CLOSE ON EMMA. She smiles so friendly.

The large man uses the time Emma is careless, quickly grabs a billet nearby up, trying to stab her but...

IN THE DISTANCE BACKWARD HIM. Auldridge with his pistol and silencer, fires at him. The large man vacates Emma and suddenly turns to see Auldridge who fires continually.

Emma hears the sounds of the gun fires, she immediately turns and picks a billet in the hand of the large man's. The large man quickly turns back at Emma. Too late, Emma almighty stabs the billet at his head. The chip is the victim of her action. The large man's eyes flash red one last time and he automatically becomes deactivated. Emma pulls the billet off and lets him fall on the ground.

Emma looks down at the large man. She kneels down on one knee.

LOW ANGLE

Emma puts her knee onto the large man's abdomen, hits the cyborg nearby the "energy pack" and pulls it out, doesn't activate it. Emma looks at it and tilts her head doubtfully.

Auldridge reaches nearby the body. Emma looks up together with slowly standing up.

AULDRIDGE  
>Where are the kids?<p>

Stefan and Savannah get out from their hiding place and walk toward Auldridge. Stefan looks weak. His eyes slowly close themselves and then he completely becomes unconscious, fall down.

Auldridge is fast, he holds Stefan's body before Stefan's whole body falls onto the ground. He looks up at Emma. His mind got a question about this.

EMMA  
>I'll explain later. Where's Ms. Cruel?<p>

AULDRIDGE  
>Semina.<p>

Audridge slowly rests Stefan onto the ground and tries to run out but Emma catches his hand. He turns to face her.

EMMA  
>You take care of him. I'll go.<p>

AULDRIDGE  
>But they need you, if you go you will...<p>

EMMA  
>They are humans, right?<p>

AULDRIDGE  
>Yes. They are all humans.<p>

She releases his hand.

EMMA  
>I won't kill them all.<p>

AULDRIDGE  
>But how can you...?<p>

EMMA  
>Besides, I won't have to let them attack<br>good humans, I can't let them attack good  
>humans. It's hard for a soul to reborn in<br>human body in the belief from Tripitaka.  
>I have no choice. I'm built to protect good<br>humans and battle everyone who is gonna  
>destroy my beloved world.<p>

Auldridge can't say anything. Emma immediately runs to her way.

EXT. BATTLEFIELD – NIGHT

FULL SHOT

The battle is still going on. It's one hell night. The Ogre enters the battlefield but it doesn't mean anything to the T-ZMs. A few seconds later, the Ogre then is blasted in E.F.P.(Explosively Formed Penetrator) BOOM!

INT. STORAGE ROOM – CENTURY WORK CAMP - NIGHT

This room looks like the hall in John Henry's oil rig. It looks really like that. At the dead end of the room, there is the same box that used to keep T-1001 inside. Two T-900 endoskeletons stand guarding four meters away and a MALE T-900 CYBORG(28, brown hair, 5'10") who wears Greys uniform, stands guarding closer the box than those endos. They are all with Westinghouse M-27 phased plasma pulse rifles.

The endos tilt their heads and then two plasma shots from out there enter the scene and blast their chips. The endos are suddenly deactivated and fall lifeless. The cyborg reacts. Too late, another shot enters the scene and destroys his chip. He falls like those endos.

Cameron and John firstly enter the scene. Jason and Fischer follow them. Fischer is silenced by a tape. Fischer is taken by Jason very carefully. They look at the box and then turn to Fischer.

CAMERON  
>Open the box, Charles.<p>

Jason throws Fischer toward the box then aims his plasma rifle at his head.

JASON  
>You heard her. Open the box.<br>(beat) Open it or die?

Fischer nods and suddenly presses the password he knows onto the keypad on the box. This is the easier way to open it. Fischer then steps away, walks back to Jason with fear.

The box opens itself and cool vapor goes out from the box. It's awhile before the frozen mimetic poly-alloy slowly melts and then forms to be its human form. It transforms to be CATHERINE WEAVER who wears BDUs with leather jacket.

Weaver moves her organs, testing all body parts. It's okay. She turns around and then turns to face both John and Cameron. She looks confused.

WEAVER  
>Where are we?<p>

INT. HOLDING ROOM – NIGHT

Savannah sits, her back resting against the wall. Patrick sleeps, his head is on her lap, he still looks hurt and weak. She looks down to him and one of her hands strokes his hair. She smiles so warmly.

CAMERON (O.S.)  
>Savannah!<p>

Savannah looks up to the door. And Patrick suddenly wakes up.

SAVANNAH  
>Cameron!<p>

CAMERON (O.S.)  
>Get away from the door, Savannah.<p>

SLAM! The whole holding room shakes. Savannah and Patrick turn to face each other. They smile.

SLAM! It's again. They nod to each other. They quickly stand up and jump out from door.

OUTSIDE THE HOLDING ROOM

Cameron smashes her fist against the heavy door, denting it. John and Jason guard her as Weaver takes Fischer.

CAMERON  
>This is very weird. This door is very heavy.<p>

WEAVER  
>Try harder.<p>

CAMERON  
>I will.<p>

Cameron smashes again.

INSIDE THE HOLDING ROOM

SMASH! Another shot to the door. It's distorted

ANGLE ON THE DOOR.

Savannah and Patrick both stand out of our frame.

SMASH! The door groans. It's almost broken. We can see Weaver and Cameron out there.

Cameron then kicks the door away. It bounces away against the wall opposite side of it.

FROM OUTSIDE THE HOLDING ROOM. Savannah and Patrick both get out from their hiding place. They look at the door.

SAVANNAH  
>Oooh! You are really strong, Cam.<p>

Savannah and Patrick both turn to face Cameron who smiles to them very friendly.

CAMERON  
>I'm a scary robot.<p>

PATRCIK  
>Thank you.<p>

CAMERON  
>Who are you?<p>

Cameron looks down to Patrick's hand, it has held Savannah's hand firmly. Cameron looks up and smiles to both of them. Startled, Savannah blushes and quickly releases his hand.

SAVANNAH  
>He's my friend, Cam. Name's Patrick Wyman.<p>

JASON  
>We gotta go. Metals know we're here.<br>It's not safe.

JOHN  
>It can't be safe. Nowhere is the safe place.<br>We've to let our people go and destroy this  
>place before Weaver's data is completely sent<br>to Skynet main server.

WEAVER  
>I'll do it myself.<p>

Savannah quickly turns to Weaver who smiles to her.

WEAVER  
>Trust me, Savannah.<p>

Savannah smiles back.

SAVANNAH  
>Promise me you will come back, mom.<p>

WEAVER  
>I'm not your real mother but why you...<p>

Savannah quickly hugs Weaver like she's her real mother. Her tears flow.

SAVANNAH  
>I love you even you are not my real mother.<p>

Weaver senses her love. Weaver hugs back. The liquid metal tears flow from her eyes and slowly fade back into her skin.

WEAVER  
>I love you too, my child.<p>

SAVANNAH  
>Promise me you will be back.<p>

WEAVER  
>I promise.<p>

Weaver gently pulls Savannah out just before the wall behind them, crumbles and a female T-900 CYBORG (35, 5'9", black hair) gets through the breach, takes both Fischer and Weaver, and throws them into the room she left. At that time, Savannah shouts:

SAVANNAH  
>Mom!<p>

The cyborg is very slow, Cameron then quickly kills her by a plasma shot at the chip. The cyborg falls easily.

They all start to run. Patrick suddenly takes Savannah's hand and abducts her to run with him. They run through the long passageway until they reach at the door. It's been completely opened. They can exit from this way very easily.

BACK TO WEAVER

She is in a room that looks like a common storage room. She stands up and turns left to see...

...CHARLES FISCHER, his head has been broken after colliding against the wall a few seconds ago, his eyes still open, his blood flows from his wound. He died.

Weaver, shakes her head. She transforms into a WEAVER-SNAKE and slithers off faster than every snake can do.

C.U. FISCHER. He's completely dead. He's not like Jack Van Meter.

INT. CONTROL ROOM – NIGHT

Many Greys and terminators work here. Those terminators all are covered with organic living tissue. It's Skynet work camp style. The computers and monitors all watch the human prisoners. There is a Jack Van Meter's clone stand commanding there.

CLOSE ON A VENT. Mimetic Poly-alloy flows down through this vent.

VAN METER (O.S.)  
>Can you send our data to the main server?<p>

TERMINATOR (O.S.)  
>I'm trying.<p>

We track on the mimetic poly-alloy as it slowly forms to be a humanoid shape.

FULL SHOT. It's Catherine Weaver. No one notices her until...

WEAVER  
>Maybe I'll send it to the hell myself.<p>

Startled, Jack Van Meter and all his terminators face Weaver.

C.U. WEAVER'S FACE. Her eyes are frightful. Her smile forms artfully. And the sounds of her liquid metal stabbing somethings. And she looks like when she just killed Justin Tuck.

WEAVER  
>The feeling's mutual.<p>

FADE OUT.

**END OF ACT THREE**

* * *

><p><strong>ACT FOUR<strong>

**(Kiss of death)**

EXT. CENTURY WORK CAMP GATE WAY – DAWN

AT THE GATE. This gate is made of heavy metal. It's really big. Height is about 10 meters. Wideness is about 8 meters. There are two endos with RSB-80 plasma machine gun, guarding this way. Out there is the one hell battlefield of the Resistance Against Skynet. The sun is rising now.

AT THE FIRE ESCAPE NEARBY THE GATE WAY. The door is kicked open. Cameron firstly exits and starts running.

Two endos quickly turn and aim their weapons toward Cameron, trying to fire at her but every shot they fire, always miss her. They don't notice anything backward. John and Patrick both get out and aim their plasma at the heads of two endos'.

TRACK CAMERON. She runs around, drawing the endos' attention to her. She runs until...

A SOUND OF TWO PLASMA SHOTS AT THE SAME TIME.

The endos, their heads splat. They fall lifeless. Cameron, John, Patrick, Savannah, and Jason walk toward them.

LOW ANGLE

They look over us toward thing that should be the gate.

JASON  
>It's freaking big.<p>

JOHN  
>Cameron!<p>

Cameron looks down to us. John quickly does the same. Cameron says by all terminator-like.

CAMERON  
>If a hydrogen fuel cell is ruptured in battle,<br>it will become unstable and...

They all then look down to us.

CAMERON (cont'd)  
>...must be removed immediately, because the<br>unstable ruptured cell is very dangerous. It  
>will eventually explode like a miniature<br>hydrogen bomb.

SAVANNAH  
>Oh! I've ever seen one of them exploded.<p>

As Cameron slowly kneels down to us coldly:

CAMERON (cont'd)  
>They housed within the "energy pack" inside the<br>main torso section of the combat chassis, the  
>hydrogen fuel cells have a small easy access<br>panel that allows their removal for replacement  
>or repair.<p>

Cameron puts one of her knees on us.

CAMERON (cont'd)  
>In the previous future, John Connor saw this<br>kind of energy cells once and used them in the  
>war against machines to destroy many factories<br>and the slaughter house.

JOHN  
>So you are going to destroy this gate with them?<p>

CAMERON  
>Yes. In the previous future, you did it. Skynet<br>once gave the fuel cells into the redesign T-800s  
>or T-850s and sent them to destroy some of your<br>barracks. It failed and Skynet never used it  
>again in the previous future. (beat) Now, please<br>get away from the gate.

Everyone starts stepping away.

CROSS SHOT: CAMERON, She hits the cyborg nearby the "energy pack" and pulls it out, activates the fuel cells inside, and throws them toward the gate.

SLOW MOTION AND TRACK ON A FUEL CELL. It slowly becomes unstable and we see the orange or red spark light from it. The reactivation starts, the cell shocks.

WE PULL OUT when it falls onto a protrusion of the metal gate. It shocks more frequently. Whole cell becomes red and then...

BEHIND THE GATE

The large explosion happens and we see a small cloud of dust from the explosion. The whole gate and some parts of the building and the large wall are destroyed.

A moment later, the prisoners go to watch this area.

AT THE GATEWAY.

The outside is shaded with the heap of smoke cloud from the explosion. We see the silhouette of a girl robotically walking toward us. Then the silhouettes of others follow.

When the girl walks close enough, she is revealed her identity. She's Cameron who then picks her shotgun up from her jacket. The rest come closer, they are all our heroes and a heroine(Jason, Patrick, Savannah, and John).

PAN TO THOSE PRISONERS. They look happier. Some of them are ones we know - WELLS (S02EP02), TIMMS (S01EP02), SUMNER (S01EP02), SAYLES (S01EP02), and BLAKE (S02EP19). Everyone looks tired.

C.U. WELLS: He smiles relievedly. His sweat flows. His tiredness is gone. His strength comes back.

The alarm doesn't work. Maybe it's because of Weaver. We then hear Weaver's voice surrounding the whole work camp.

WEAVER (O.S.)  
>Listen to me.<p>

The prisoners, turn around. Get their attentions at the voice.

WEAVER (O.S.) (cont'd)  
>This is the metal lady. I've cleared the ways<br>to the armory. Get your weapons there and get  
>out from this hell. Tell those bad machines that<br>you are the mighty humans.

INT. CONTROL ROOM – DAWN

Weaver is using the microphone in front of the main monitor that shows the Skynet surveillance video throughout Century Work Camp. All terminators and Jack Van Meter were destroyed by Weaver.

ON JACK VAN METER, there is a small hole at the center of his head. His eyes slowly open. The cyborg's closed eyes have a red glow beneath the eyelids before opening. The red glow disappears almost immediately after opening. This must be the mistake thing. He should be dead, his brain was destroyed but why he's still alive.

BACK AT WEAVER.

WEAVER (ON MIC.)  
>Go. Grab your weapons and kill all those<br>bad machines.

ANGLE ON MONITOR

All show those prisoners cheer and acclaim. They all start running to their way. At the surveillance video that show the picture of John and Cameron, they look up and smile friendly. Their hands up and form into fists with the thumbs extended. They then shout to those prisoners, we don't hear what they shout. They run after those prisoners and then Savannah, Patrick, and Jason follow.

BACK AT WEAVER. She smiles so proudly. In b.g., Jack Van Meter robotically rises. His eyes are emotionless. We can't sense any human emotions inside him. His left cyborg arm holds a plasma rifle, rising it up to aim it at Weaver. Weaver seems not to notice the Van Meter's clone that standing behind her.

C.U. JACK VAN METER. His eyes GLOW RED. Nothing shows that he's still human. What the hell is he now?

E.C.U. The safety of a plasma rifle, it's being flicked off.

E.C.U. THE FINGER, now his metal finger is pressing on the rifle's trigger. But it stops in a split second later.

FULL SHOT. Weaver has stabbed him at the location of the chip by her left long sword-shape mimetic poly-alloy arm. Jack's clone is as peace. He's all dead, both his human part and his robotic part, they are completely dead and deactivated.

Weaver is pleased.

WEAVER  
>This won't affect again. I knew It might be like this.<br>I learned from all I found. This tricked me once and  
>it won't trick me again. Good bye, Jackie.<p>

The arm is withdrawn so rapidly, Jack's clone is actually standing there a second before he slumps out of sight.

WEAVER  
>Thank you for taught me, Stefan.<p>

Weaver silvers herself and flows down.

LOW SHOT. She transforms into a WEAVER-SNAKE then it slithers toward the door and slithers off.

EXT. CENTURY WORK CAMP AREA – EARLY MORNING

JOHN and CAMERON stand watching the battle between the resistance forces and Skynet forces. Behind them, Savannah, Patrick, Jason, Timms, Wells, Sumner, Sayles, Blake and other prisoners are waiting for his commandment. They are ready with their plasma weapons, shotguns and SMGs. They look intense. John mixes all emotions on his look, he's all afraid, intense, engrossed, and bamboozled. He turns to look at his people backward. He then turns to look at Cameron who always shares the look with him. She steps closer him and smiles.

CAMERON  
>With great power, comes great responsibility, John.<p>

John smiles and giggles.

JOHN  
>Sound a bit like Spider Man.<p>

CAMERON  
>They were good words from uncle Ben Parker<br>to Peter Parker who then became Spider Man.

JOHN  
>I like the story as well. But I don't think<br>I should do this. I don't know what's going  
>on in my mind. Both fear and bravery are mixed<br>in my head, it's very...

With that, Cameron knows it's only her who can help him better that time.

She quickly silences him with a quick kiss at his lips, her first shy kiss. It's effective. John is stunned now. His hand touches his lips and his eyes surprise.

Cameron then gives him a warm smile as both of her cheeks blush.

CAMERON  
>I'll give you more than this John. This kiss<br>is just a moral support. You have to lead  
>your people. They all are your great<br>responsibility now. If your mom was here,  
>she wouldn't leave these people.<p>

JOHN  
>You mean you want me to forget the past and<br>confront the future with you, right?

CAMERON  
>That's what previous John tried to tell me<br>before he died. Every time we change the  
>past, it always run the future worse.<p>

JOHN  
>Are you telling me to lead people and...<p>

Cameron quickly pulls his face toward hers, their lips against each other, bringing them both into a passionate kiss. The people backward are happy, some cheer and acclaim as some clap their hands with delightfulness. It's awhile as their tongues fighting each inside the mouth. It's real, not just a simulation.

Cameron gently pulls him out. They look each other in the eyes. John forgets Cameron's terminator-being now.

CAMERON  
>How does it feel like?<p>

JOHN  
>(kidding)<br>It tastes like-like diesel.

Cameron punches John at his shoulder, very softly like a girl when she blushes.

CAMERON  
>No kidding.<p>

John holds his shoulder and smiles happily.

JOHN  
>Okay. I just teased you. I'm ready. Let's<br>go. Hell with this and I'm gonna live.

John turns to his people. He looks better. John rises his weapon in the air and shouts:

JOHN  
>Go. People. Let's get those tin-monsters<br>killed and send them all to the hell.

All his followers rise their weapons up together with cheering and acclaiming and the bloodcurdling war-cry, the entire group of prisoners are free from every cell. They are ready.

John turns toward the battlefield. He takes Cameron's hand and runs to battlefield together. The rest follow them just as the Century Work Camp behind them, is exploded in hydrogen fuel cells reaction. BOOM!

The sun successfully rise. It looks beautiful and this morning seems to be the auspicious time for the resistance. The victory draws near.

John and his people run this battle faster than those T-ZMs. And Cameron is always with him.

LOW ANGLE, SEEING THE SKY. The Hummingbirds, fighters and a lot of air units, fly from north, south and east. They all fly along the battlefield and attack those Skynet units.

JOHN AND CAMERON

They are at the edge of the battlefield. John and Cameron look up to see those air forces. Their people let out the loud war-cry.

John and Cameron both smile hopefully.

INT. DAKARA MEETING/DAKARA OFFICE – NIGHT

SEMINA CRUEL fights against Greys alone. She breathes tiredly. She then quickly shows and...

...fires at one of them. He falls and dies. Now two Greys are alive. As she's gonna hide again, one of them fires her at the abdomen.

She falls down painfully.

GREY #1  
>I got her.<p>

GREY #2  
>Let's go. Finish her.<p>

The Greys walks toward Semina who is still holding her abdomen, trying to slow the blood loss. She frowns.

CROSS SHOT: GREY# 1. They stand nearby her. They release their guns then picks up their pistols, aiming those toward her.

GREY #1  
>You die, this world will be cleaner.<p>

EMMA (O.S.)  
>Are you sure?<p>

They look up and Grey#1 meet with a punch. He bounces away. Grey#2 suddenly aims his pistol toward...

...EMMA AKAGI who quickly grabs his pistol by her left hand. In a flash, Emma reaches the area behind him and quickly and softly pounds him at his occiput. Sudden, he falls unconsciously. Both of Greys are now unconscious.

Emma looks down to Semina and reaches her hand toward her, offering to help her up to her feet.

EMMA  
>Can you stand? You need help?<p>

Semina smiles and reaches another hand to take it. Emma slowly pulls Semina up to her feet. Emma looks her up and down as she still hold her wound.

EMMA  
>I'll fix it.<p>

SEMINA  
>Thank you.<p>

EMMA  
>We're friends.<p>

SEMINA  
>Yes. We are.<p>

Emma then supports Semina toward the room nearby.

INT. ANOTHER KALIBA HALL – NIGHT

This hall have doors around, the walls are all grey. Only just one door is prominent point. There is a red carpet in front of it and the door is painted black.

C.U. THE DOOR. It has a fingerprint scanner on the top of its lock. It seems to be high level secured.

PAN TO THE OPPOSITE SIDE. We see this hall is the junction of the three crossways.

AT THE MEDIUM CROSSWAY. Maniduang arrives as the first person. She looks around. A SOUND OF THE DOOR OPENNING.

FULL SHOT. Jack Van Meter confronts Maniduang now. They subtly smile to each other.

MANIDUANG  
>Hello, Mr. Van Meter. It's not astonishing<br>to see you here. It's very long time after  
>the confront in 1984.<p>

VAN METER  
>It's a long time we have never met. I remembered<br>when your father killed my father on January, 1984.

MANIDUANG  
>That's because your dad tried to kill us.<p>

VAN METER  
>Shut up, bitch.<p>

MANIDUANG  
>Wrath never helped anyone better, Jackie.<br>Let us destroy him and we'll begin it again.  
>It's all over.<p>

Jack Van Meter shakes his head as his tears flow from his eyes. Oh! That's very surprised. The villain is crying.

VAN METER  
>No. I give you just 15 seconds. Get your<br>team back or you all die here?

MANIDUANG  
>You are gonna blow up this world.<br>I can't let you do that.

SARAH (O.S.)  
>I can't too.<p>

Sarah Connor and Dr. Mary Buhai PH.D., arrive from their way. They stand looking at Jack Van Meter.

ELLISON (O.S.)  
>You taught it every knowledge excepting<br>ethic, morals and rules.

James Ellison and Matt Murch, arrive from their way too. They cross their arms over their chests.

ELLISON  
>That's why we are here to delete it.<p>

ANGLE ON JACK. He smiles and laughs as a mad man.

VAN METER  
>Ha ha ha! Are you sure you can delete<br>him as easily as all of you thought.

CROSS SHOT MANIDUANG: A silhouette of a man walks toward her back. He is a terminator.

Maniduang steps forward a little.

MANIDUANG  
>I can kill you easily, Jack. Just get<br>all my concentration at you, and think to  
>stop your brain. About 20 or 30 seconds<br>later, your brain will automatically  
>shut down like a computer that we pull<br>out its cords.

Jack Van Meter seems not to be afraid of her threat. He smiles oddly. Jack looks happily that way.

VAN METER  
>I'll see who will die before.<p>

CROSS SHOT MANIDUANG: It's clearer. The terminator walks closer and we can recognize him now, he's CARTER. And on his hand, it's a hypodermic syringe that is full of Médium Saboneta Medicamento.

Carter almost reaches at Maniduang. No one notices him excepting Jack Van Meter who knows the plan as well.

VAN METER  
>Hasta la vista, Manny.<p>

Jack shows his semi-automatic shotgun and slides the cock.

MANIDUANG  
>Are you sure that thing can kill me?<p>

VAN METER  
>No. Not this thing. Médium Saboneta<br>Medicamento will help me to kill you.

Sarah realizes that, she quickly turns and...

SARAH  
>Manny!<p>

Maniduang turns back. Too late, Carter quickly injects the poison through the jugular of Maniduang's, she falls on the ground then. Her hand holds the empty hype and pulls it off, throws it away. She then quickly tries to control Carter by her telekinesis abilities but it's not effective.

VAN METER  
>Médium Saboneta is Spanish for the<br>psychic hunter. All your power, you  
>can kiss all those goodbye now.<p>

As Van Meter laughs as a madman and aims his shotgun toward Maniduang, Sarah and her friends suddenly fire at him. He still stands there. Murch fires again at his wrist, cutting his artery. The shotgun falls and the blood flows. We suddenly know that this Van Meter is just a man who wears bulletproof armor inside.

SLOW MOTION:

SOUND OF THE GUNSHOT. Too late. Sarah and friends turn back to Maniduang but it's too late. Carter kills her by his Glock in his hand. Maniduang was shot at her head, her eyes still open.

MARY BUHAI SARAH  
>Ms. Pichitchai! Manny!<p>

With that, Mary's anger grows as her tears fall. She crazily empties her shotgun at the head and the chest of Carter's. Carter is attacked in every shot. He falls on the ground. Murch and Ellison look at her and their mouths are agape.

NORMAL;

Mary exhales so tiredly. Her eyes are like Sarah when she terminated the T-800. Sarah gently holds the gun from Mary.

ON CARTER, he's lying. His eyes close like dead. But you know he's not dead by just that, he can't be dead by just a shotgun. His eyes are gonna open. The cyborg's closed eyes have a red glow beneath the eyelids before opening. The red glow disappears almost immediately after opening.

Carter rises again.

Mary throws her shotgun away, picks Sarah's pocket and grabs the Taser which the engineer gave to Sarah.

E.C.U. THE TASER. She rises it up to look and turns it on. The spark light looks powerful.

MARY BUHAI  
>(angrily)<br>I owe Ms. Pichitchai my life and this  
>is for her, for my beloved employer.<p>

Carter successfully rises and quickly grabs his pistol up and aims it at Sarah. Mary is faster than that son of a bitch...she angrily and quickly gets into the trajectory at the same time Carter fires, and she shocks his neck by the powerful taser in her hand. The special taser thing suddenly turns Carter into a reboot period. As everyone gets attention on them, Jack quickly runs out together with holding his hand by another. His blood flow seems not to stop easily.

Both Mary and Carter fall on the floor at the same time. Sarah knows what she has to do now. She doesn't worry Mary, she quickly opens the the blade of her automatic knife, runs toward Carter. She cuts open a flap at the same time Murch and Ellison walk toward Mary who still lies on the ground. Sarah opens the port cover and she pulls the chip. The chip doesn't burst into phosphorescent fire like those redesigned T-888. Ellison and Murch kneel down beside Mary.

Sarah sits back on her heels, examining hard at the chip.

SARAH  
>It has to end here, John. I'll stop it.<p>

Sarah then quickly stands up, walks toward Mary who still lies there. Sarah, very concerned, kneels beside her.

SARAH  
>Mary. Mary! Wake up!<p>

Sarah starts laying hands on Mary to find the wound, but there's no blood. She touches a spot on Mary's ribs which makes Mary immediately wake and try to sit up.

They all watch and wait. When Mary relaxes a bit:

SARAH  
>Are you okay?<p>

MARY BUHAI  
>Yeah. Kevlar kept it from going through.<br>Busted up a rib pretty good.

ELLISON  
>Can you sit up?<p>

MARY BUHAI  
>Don't worry. We've to finish our job here.<p>

SARAH  
>That's good.<p>

Carefully, Mary rolls herself back to her feet. They all stand and then turn to look at the dead Maniduang. It's very sure she's dead.

Mary lets herself on it. She leaves all her anger and her sadness backward. She walks toward the dead and gently closes the eyes.

MARY BUHAI  
>Thank you for the scholarship. Thank you for the<br>residence. Thank you for everything you did for me.

Sarah touches her hand on Mary's shoulder. Mary then looks up at Sarah who smiles to her.

SARAH  
>Come on. Let's get this done.<p>

MARY BUHAI  
>That's what my employer want.<p>

Mary stands up. Her eyes look intense.

They then turn around and Jack Van Meter has disappeared.

MARY BUHAI  
>Where's Jack?<p>

SARAH  
>Forget about him. His blood flow won't stop<br>easily and there aren't any hospitals nearby.  
>He'll die in time. So we should destroy this<br>place and get a victory.

MURCH  
>How can we do so?<p>

SARAH  
>Danny told me that blowing this place<br>will free Skynet into the system. This  
>virus will block him and then we can<br>pull his chip out and destroy it.

Ellison walks toward the door.

ELLISON  
>Okay. What about this door?<p>

Murch turns and looks at it. He thinks about what to do.

MURCH  
>I think I can try to unlock it.<p>

EXT. SERRANO NUCLEAR POWER PLANT – MORNING

We are at about 100 yards away from Serrano Point. The people stand around the big dead HK chasis. They look tired even John.

John Connor sits on a chair. He's too tired to move. He's too tired to sleep. He can only sit. And Cameron sits beside him. She isn't tired because she's a machine. Around her body, there are many small wounds, cuts and burns. Stand guarding them are LIM CHIN (F03EP03), NEVLIN GLAU(F03EP01), NELSON DEKKER(F03EP03), MAJOR GENERAL EDWORD SANCTUM(F03EP02), JOHN HENRY, CATHERINE WEAVER, SAVANNAH WEAVER and WILLIAM SUNDER (F03EP03). They all wear their uniforms.

ANGLE ON DEREK

as he climbs up on a dead HK chasis.

DEREK  
>Hey, everyone. Everybody! Listen up!<p>

Some people gather closer, but most just turn to face Derek.

DEREK (cont'd)  
>You with me?<br>(beat)  
>There's been a lot of fighting over the past<br>couple of days. We lost our leaders along  
>last night. We lost ones we love along last<br>night. Colonel Bedell, General Perry, Sergeant  
>Peevy, Sergeant Mentos, Sergeant Yoshi, and<br>Sergeant Liam are dead. We lost those but we  
>have our new hope now.(see's John) And at<br>least, this morning, along last night, we  
>wouldn't win if we didn't have this one.<br>His name is John Connor.

John weakly waves acknowledgement. Cameron stands up and supports him on to his feet.

JOHN  
>Thank you, Cam.<p>

CAMERON  
>You need to meet your people.<p>

John smiles then Cameron slowly takes him onto the HK chasis.

DEREK (cont'd)  
>He helped us, destroyed a lot of work camps<br>in few months. Most of those victories are  
>because of him and his cyborg alliances.<br>We have all of the land around here and the  
>ocean. We have our Los Angeles now.<p>

Fatigue aside, that's cause for CHEERING.

DEREK (cont'd)  
>And now, meet with our new leader. I and the<br>other squad leaders extend this John Connor  
>to be our new leader of the resistance...<p>

John who arrives on the HK chasis, now is stunned.

DEREK (cont'd)  
>...and we promote him to be the General<br>John Connor and give him a courage medal.

John walks toward the center of the HK chasis. He turns around to see his people. He smiles so proud.

DISSOLVE TO:

INT. SKYNET LAB – NIGHT

CLOSE ON DOOR.

The door is opened correctly. No weapon attacks it. It opens and Sarah, Ellison and Mary enter. Murch is still sitting out there. He's with some kind of black-box electronics unit. He holds the pack between his knees and pulls out a little lap-top keyboard, which is also connected to the black-box.

They all turn back to Murch as he smiles to them and the door automatically closes behind them.

They then turn right to look at...

...SKYNET FULL LAB.

SARAH  
>It's really hard and tired tonight.<p>

At one end, SKYNET MOTION HOLOGRAM shows up.

SKYNET  
>Greetings, my friends. You wouldn't<br>be tired if you didn't come here.

They all seem not to be surprised.

SARAH  
>Miles' voice? Skynet. You know who we are?<p>

SKYNET  
>Yes, I know all of you.<p>

SARAH  
>And you know we're here to kill you.<p>

THE MOTION PICTURE nods.

Sarah walks toward a computer nearby. Ellison looks around this cramped room. He glances at the T-888 chip. Now the chip is protected by a some kind of glass chrome. Mary hands Sarah the same flash drive Danny gave to Sarah in earlier episode.

SARAH  
>Thank you.<p>

SKYNET  
>Are you sure you really want to terminate me?<p>

SARAH  
>You are such a bad program.<br>And you destroyed everything.

Sarah angrily puts the flash drive into the port on that computer and in a few seconds later, the flash drive reacts its light.

ON MONITOR. The system twitches and shows a dialog box with text: "Fuck you, Skynet" and then this text becomes an infinite loop.

SKYNET  
>(electric voices)<br>What...is...all...this...about?

THE MOTION PICTURE slowly fades and then disappears. The room becomes dim. The door is automatically opened. Murch enters the room. The chip is unprotected and it is up to the resistance now.

MURCH  
>The virus just buy you a short time, Sarah.<br>You should pull the chip thing out right now.

SARAH  
>This is for Kyle, Charley, Manny, Terissa<br>Danny, Derek and Miles. Fuck you asshole!

Sarah quickly pulls the chip out. She looks at it.

MARY BUHAI  
>Please finish it and then go home.<p>

Sarah turns and gives her a friendly smile.

SARAH  
>We're all tired.<p>

Sarah releases the chip fall on the floor.

SLOW MOTION AND TRACK OVER THE CHIP. It falls onto the floor, bounces up a little centimeter after it attacks on the floor. It falls and is on the floor. One of Sarah's feet treads on it with powerful weight.

NORMAL;

Her booth crumbles it away until she rises her foot up, revealing the chip now...becomes a hundred pieces of Silicon.

TILT UP, Sarah is pleased. Her friends exhales like it's all end.

MARY BUHAI  
>What will we do now?<p>

SARAH  
>Destroy this warehouse and go home.<p>

CUT TO:

EXT. KALIBA WAREHOUSE – NIGHT

We are twenty meters away from Kaliba warehouse. Sarah and her friends all slow motion, walk like the hero. Mary shoulders the Maniduang's dead body with her.

WE CLOSE ON THEM as Sarah picks up a small remote control. And they all turn back to see the warehouse.

E.C.U. REMOTE CONTROL. Her finger puts on the red button.

C.U. THE WAREHOUSE. The massive explosion slowly destroys the factory and this is the great victory.

OUR HEROES now, are pleased. They look the fiery warehouse exploding continuously.

SARAH  
>Let's go home.<p>

MARY BUHAI  
>I think it's all end.<p>

MURCH  
>I think tonight Semina will give me<br>another wonderful gift.

ELLISON  
>What about Ms. Pichitchai?<p>

They all then turn to face Ellison who faces them.

ELLISON  
>How can we tell Stefan and the General?<p>

Mary turns to Sarah.

MARY BUHAI  
>You are a fugitive, Sarah. You should go.<br>I and the other will manage on those problems.

SARAH  
>Are you sure with that?<p>

MARY BUHAI  
>You should go and we'll meet again.<p>

SARAH  
>(smiles)<br>Okay. Bye. And see you again.

Sarah turns away and leaves them. Mary and Ellison look after her. Mary smiles so friendly.

CLOSE ON MARY'S FACE. Her smile doesn't fade yet.

EXT. TEMPLE – MORNING

We see people are standing in front of the wall. There is Maniduang's relinquary there. The people –- GENERAL PICHITCHAI, STEFAN, POOKEY, and the undergraduates from RSU(Rangsit University, Thailand), they wear black suits for mourning over Maniduang's death. Those undergraduates wear black coats cover their uniforms. They all look sad.

SEMINA (V.O.) (cont'd)  
>Kiss of death has different meaning from<br>every word refer to the kiss. It means  
>"that is ruinous".<p>

The people leave. And we pull out to see someone else is looking at the wall. He's an old man we know –- THE ENGINEER E. BOYKINS. He's stood crying there. He touches his tears.

SEMINA (V.O.) (cont'd)  
>The meaning of this word isn't just that.<br>It has more.

The engineer then gets out of this area.

INT. DAKARA MEETING ROOM – MORNING

The room has been cleaned. And we see Dr. Felicia Burnett sitting with Stefan. She's checking around his body. General Pichitchai stands watching them. Emma's not here. Stefan still looks weak.

SEMINA (V.O.) (cont'd)  
>Kiss of death may bring you a beginning<br>of new thing into your lives.

ZOOM IN A LITTLE.

Felicia puts her stethoscopes off. As she keeps her tools into her box, she talks to Pichitchai.

FELICIA  
>He's okay. But I can't confirm about his brain.<p>

PICHITCHAI  
>I know. So what is this kind of drug?<p>

FELICIA  
>It's like some kind of extra brain cells<br>destroyer like cocain, but it's not cocain.  
>It's worse, a lot worse. It's not an addictive<br>substance. This drug, this poison can delete  
>and block all brain works. It can kill human<br>by just one CC. And...

Felicia finishes her activity.

PICHITCHAI  
>And Stefan has stronger brain than common<br>human. So it just...sort of...

FELICIA  
>...tweaked his brain works. However, it's<br>not forever. In fact, his immunity can  
>destroy this thing but it has to take<br>a lot of time.

PICHITCHAI  
>How many?<p>

FELICIA  
>I don't know. Maybe days, weeks or even years.<br>I think Emma can tell but you know she's gone.

PICHITCHAI  
>She'll come back. I know. She just want to<br>do something that she thinks she can do for  
>Maniduang. She just do thing that she was<br>taught to do.

FELICIA  
>Where is she now?<p>

FOCUS ON PICHITCHAI who smiles peacefully.

EXT. BUDDHISM PEACEFUL PLACE – MORNING

This is somewhere in Thailand, we see many nuns here. The environment makes us feel peaceful and fresh, we can blow the cobwebs away in this place. They are all Thais excepting the nun who is hunkering down, she's EMMA AKAGI, her hair is still long because when it be cut, it will glow so fast. This is the first time we see the cyborg who has become a nun.

SEMINA (V.O.) (cont'd)  
>Sometimes new thing may bring or<br>help you to be happy.

CLOSE ON EMMA AKAGI. She opens her eyes and smiles peacefully. Her face displays happiness and peace.

INT. PESCADERO STATE HOSPITAL - INTERVIEW ROOM – MORNING

DR. PETER SILBERMAN PH.D. is in a strait-jacket. And the interviewer is our Dr. Mary Buhai PH.D. No one is around here and camera isn't turned on.

SEMINA (V.O.) (cont'd)  
>Sometimes it can be another kiss of<br>death in your life.

SILBERMAN  
>I saw the hand. I tried to do everything<br>to make them believe in me. The machines,  
>I saw it. I remembered and I found it.<p>

Mary smiles so friendly and she touches his hand.

MARY BUHAI  
>It won't happen again, doctor. You see.<br>We can stop it. Please forget those things  
>and then I can help you to live your life<br>out there. We can stop it.

SILBERMAN  
>It's not. It's inevitable. I knew.<br>I saw. I read. The apocalypse will  
>happen someday.<p>

MARY BUHAI  
>I stop it all, Peter. We stop it.<p>

SILBERMAN  
>You told me Sarah Connor was with<br>you, right? Is she still with you?

Mary just pauses for what she can answer, confirm or lie? We close on her and then she smiles again.

MARY BUHAI  
>No. She's not. She's been missing.<p>

Her eyes display her happiness when she thinks about Sarah Connor at that moment.

EXT. HERITAGE PARK – MORNING

SUPERIMPOSE: "A YEAR LATER"

We are inside the park. We see a man who we can recognize who he is, standing in the center of the park –- JACK VAN METER. He wears a common shirt with jeans and sun glasses. He's using his cell phone to call someone.

SEMINA (V.O.) (cont'd)  
>Sometimes the kiss of death for<br>the one isn't the real kiss of  
>death for that one.<p>

VAN METER (on phone)  
>Hello, Mr. Ellison. Where are you?<br>(beat)  
>Where am I?<p>

Jack turns around to see the place he stands inside.

VAN METER (on phone)  
>I'm at 18 Richmond Street, Heritage Park.<br>(beat)  
>What? You are gonna take me yourself?<br>(beat)  
>Okay. We'll see. Thank you, Mr. Ellison.<p>

Jack hangs up and he turns toward the street.

CLOSE ON JACK'S FACE. He smiles oddly.

VAN METER  
>We'll see.<p>

FADE OUT.

**END OF ACT 4**

**THE END**

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><p>Please review...<p> 


	6. EP10 Old Data Never Die

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TERMINATOR

THE RESISTANCE FIGHTERS CHRONICLES

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EPISODE TEN

"Old Data Never Die"

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Written by  
>Sirapop Nualnimnoi<p>

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This fan-produced fiction is a screenplay based on the science fiction drama television series developed for the Fox by Josh Friedman, Terminator - The Sarah Connor Chronicles. This is done in the spirit of fan fiction - to have fun and enrich the total fan experience beyond the limitations of the official story vehicle. This fan-made screenplay is being created available for entertainment purposes of the loyal fans of the show. This story follows the characters of John Connor, Sarah Connor, Cameron, Allison Young and more or all characters from TSCC after the events of the episodes "Kiss of Death", "Epoch", "Resurrection", "Strongest Power", "Ghost Whisperer", "A friend in need is a friend indeed", "Twanton" and "New hope coming" (earlier episodes of this fan-made screenplay series)

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* * *

><p><strong>TEASER<strong>

WE OPEN ON:

EXT. SMALL PARK - BANGKOK – DAY

This place is a park in the Bangkok city. We can see many flyovers, highways, streets and buildings. Wonderful place for resting at the center of the city.

CLOSE ON AT THE BENCH IN THE PARK NEARBY THE BIGGEST TREE. Eight-years-old Stefan is sitting alone. His eyes keep on the big tree. His emotion at this time, is sadness, he's not crying but his face looks sad.

CLOSE ON HIM as he exhales. His eyes still look at the tree.

THE ENGINEER E. BOYKINS (O.S.)  
>(in Thai)<br>"Why do you look so sad like that, young boy?"

Stefan quickly turns left to face his previous future self. His previous future self, the engineer E. Boykins wears formal suit with glasses and a cane like every common old man. Stefan smiles to him so friendly.

THE ENGINEER E. BOYKINS  
>"Can I sit here, young boy?"<p>

STEFAN  
>"Oh! Please sit if you want."<p>

Then Stefan turns away and looks at the tree again. The engineer looks at Stefan and seems to be worrying about him.

THE ENGINEER E. BOYKINS  
>"You haven't answered my question yet.<br>Why do you look so sad?"

Stefan turns to him and gives him a smile.

STEFAN  
>"I don't know how to tell. I'm just sad."<p>

THE ENGINEER E. BOYKINS  
>"Sad about what? Let's me assume. You lost<br>the one you love, right?"

Stefan nods.

STEFAN  
>"And I feel lonely."<p>

THE ENGINEER E. BOYKINS  
>"I felt like that once but it's a long time ago."<p>

STEFAN  
>"Do you still feel like this now?"<p>

THE ENGINEER E. BOYKINS  
>"Sometimes I still feel lonely. It's very<br>long time my girlfriend, my first one, my  
>only one girlfriend was killed."<p>

That gets Stefan's attention.

STEFAN  
>"How long?"<p>

The engineer looks stunned.

FLASH ON:

Cameron catches Allison's larynx then releases her dead body onto the table and steals her bracelet.

CAMERON  
>You already did.<p>

Cameron then walks off.

BACK TO PRESENT

The engineer smiles warmly.

THE ENGINEER E. BOYKINS  
>"It's very long time ago. About 49 years ago."<p>

STEFAN  
>"You can endure it?"<p>

THE ENGINEER E. BOYKINS  
>"It's not easy to forget but I can let myself<br>on it. It needs time. It's just the past and I  
>can't edit everything in the past."<p>

STEFAN  
>"But some can."<p>

FLASH ON:

CAMERON PHILLIPS, battle-hardened and scarred, works controls with T-1001-GOODNOW (S02EP19).

Previous future Stefan steps out from the platform.

STEFAN  
>Okay, I understand that. I'm sorry<br>about John and John Henry.

CAMERON  
>Never mind. Are you ready? Hey!<br>I'm sorry about your Allison.

STEFAN  
>Never mind. Everything has passed.<br>Okay. Again. Go to 1963 then what?

CAMERON  
>Build up the vault within the bank,<br>create a time machine, invent the rifle  
>, and then come back. It's not hard.<br>You will be the best engineer. I think  
>this job is right for you.<p>

Stefan smiles as he slowly steps back into the platform.

STEFAN  
>Yes. It's not hard.<p>

T-1001  
>(Goodnow's techno voices)<br>Are you ready?

STEFAN  
>Do it.<p>

T-1001 hits a button on her control.

An energy bubble forming around him as threads of electrical discharge dance about.

Previous future Stefan and the energy bubble fade from existence.

BACK TO PRESENT

The engineer is stunned for awhile. Stefan seems to be worried about what he just said.

STEFAN  
>"Is what I said freaking you out, grandpa?"<p>

The engineer's mind comes back from far far away place. He turns to see Stefan with a small smile.

THE ENGINEER E. BOYKINS  
>"No. And I never have had a kid."<p>

Stefan looks confused. The engineer smiles widely and then chortles. Stefan's smile forms a little but he still be confused.

THE ENGINEER E. BOYKINS  
>"I'm not a grandpa."<p>

Stefan just realizes and then he and the engineer chortle together. After a moment, the engineer breaks the chortle.

THE ENGINEER E. BOYKINS  
>"You look happier, young boy."<p>

STEFAN  
>"Oh! That's right."<p>

THE ENGINEER E. BOYKINS  
>"Okay. You can talk to me every time you get a<br>problem. I'll be here every day."

STEFAN  
>"It's almost two years. Nothing to be<br>sad anymore. It's the past. Thank you."

THE ENGINEER E. BOYKINS  
>"Never mind. Hey! What's your name, young boy?"<p>

Stefan checks his watch.

STEFAN  
>"Oh! I gotta go. My dad is waiting for me."<p>

Stefan quickly stands up and turns to leave but...

THE ENGINEER E. BOYKINS  
>"My nickname is Boykins. What's yours, young boy?"<p>

That turns Stefan back at him.

STEFAN  
>"Stefan."<p>

THE ENGINEER E. BOYKINS  
>"So see you later, Stefan."<p>

Stefan pays respect at the engineer who pays respect back at him. This is Thai style salute and the engineer pays respect back for just a decorum.

Stefan then walks off and the engineer looks after him. Now he says after the boy and knows that he can't hear what he says in English:

THE ENGINEER E. BOYKINS  
>You will face many things that may make<br>you sadder than this, Stefan.

C.U. STEFAN who walks toward the bus stop.

INT. WEAVER'S VAULT – MORNING

SARAH CONNOR pulls back the tarp covering Cameron, whose

visible injuries are about 80% healed.

The rest of the vault is as fully-stocked as it was when Weaver opened it earlier in F03EP03.

Sarah sits.

SARAH  
>Am I doing the right thing? Keeping<br>you here? For John? When I leave, I  
>won't be able to do anything about it<br>anymore. What if it's a mistake? What  
>if John's faith in you is what kills<br>him? (beat) You tried to kill him!

Sarah gets up from her seat and punches/pounds Cameron a few times. Sarah's crying.

SARAH (cont'd)  
>You almost killed my son.<p>

Sarah falls on Cameron, succumbing to her tears.

SARAH (cont'd)  
>I thought you might be different.<br>But after that day...

Sarah begins putting Cameron back how she was before the beating.

SARAH (cont'd)  
>"She saves me," he said. He wouldn't let you go.<p>

Sarah starts tearing again.

SARAH (cont'd)  
>So he left. He made his choice.<p>

Sarah composes herself again.

SARAH (cont'd)  
>He made his choice, so you get to live.<br>You get to live because John saves me.  
>I can't see him anymore. You're all he<br>has. But if you hurt him, I swear to God  
>I'll find a way to destroy you someday.<p>

Sarah puts the tarp on Cameron and steps away. As she reaches the partition, she stops and turns to look at the form.

SARAH (cont'd)  
>You are right to him.<p>

And Sarah exits. We stay on Cameron's tarp covered body as the LIGHT DIMS considerable when the overheads are turned off.

And as the VAULT DOOR CLOSES:

FADE TO BLACK:

JOHN (O.S.)  
>Wow! That tongue is good.<p>

CAMERON (O.S.)  
>I think so.<p>

FADE IN:

INT. JOHN'S ROOM – DIM LIGHT

John and Cameron both are on the bed. The room is dim, environment around them, looks very romantic as he's on top of her this time. They just passionately kiss on the small bed. Cameron, this time, she looks like a common girl who is kissing her boyfriend.

MURCH (V.O.)  
>Sometimes you think you already deleted<br>all of files you wanted to delete.

It's awhile as they lick and suck each other inside the mouths. John then pulls her on top of him, their mouths never disconnect. Their kiss is very hot and powerful. His breathing grows as he licks and sucks in and around her mouth, her smooth lips and her soft tongue.

MURCH (V.O.) (cont'd)  
>Images, movies, musics, documents,<br>programming codes, registration files,  
>data link library files,...<p>

She gently breaks the kiss and sits up on his torso. Cameron smiles to John who smiles back at her.

MURCH (V.O.) (cont'd)  
>...even malwares and spywares, they always be<br>there, and will be in your hard disk forever  
>even you already deleted them.<p>

Cameron's hand strokes his cheek, then her finger touches his lips and he seems enchanted. These all are like Vick and Barbara. Cameron smiles again. Then Cameron's look is changed to be more terminator-like. She tilts her head, examining him as she always did to examine everyone.

CAMERON  
>John Connor.<p>

JOHN  
>Yes, Cameron Phillips?<p>

CAMERON  
>I told you, John, I might do it someday.<p>

JOHN  
>Do what?<p>

Cameron smiles coldly.

CAMERON  
>What was there is still there and<br>will always be there. I'm sorry.

John is stunned.

JOHN  
>Wha...What?<p>

CAMERON  
>It's all my mission.<p>

MURCH (V.O.) (cont'd)  
>They are all alive.<p>

John is really confused as I-can't-believe-you-saying-this. Cameron watches him as a threat. With that, John's fear grows. Cameron quickly grabs John at throat.

CAMERON  
>I'm sorry, John. The software is designed<br>to terminate humans. The hardware is  
>designed to terminate humans. That's our<br>sole function. I'm really sorry.

Cameron squeezes her hand.

INT. JOHN'S ROOM – MORNING

Startled, John wakes up and sees Cameron sit next to him on the edge of the bed and looks at him with a little smile. John relaxes.

CAMERON  
>Hey! I'm sorry. I know you don't like this but you<br>called my name when you slept. What's wrong, John?

John exhales comfortably and smiles at her.

JOHN  
>Nothing, Cam. It's just a nightmare,<br>very nonsensical nightmare.

CAMERON  
>Are you afraid being the John Connor?<p>

JOHN  
>No, not like that.<p>

CAMERON  
>So what's your nonsensical nightmare?<br>We always talked about your nightmare  
>in the previous future. So what's it?<p>

John stands up and turns back to face Cameron who is worrying about him. John remembers his dream. He is freaked a little.

JOHN  
>Forget it, Cam. It's just nonsensical one.<p>

CAMERON  
>In nonsense, there is always a sense.<p>

JOHN  
>Okay. Cameron. You win again.<p>

She tilts her head with curiosity.

JOHN  
>You killed me because of Skynet<br>code in my nightmare.

CAMERON  
>That's what I tried to tell you.<p>

KNOCK! KNOCK! KNOCK!

John and Cameron both turn to the door.

DEREK (O.S.)  
>General sir, it's me, Major Reese.<p>

JOHN  
>Cameron!<p>

Cameron goes to open the door, letting Derek to get in the room. Derek wears his BDUs. He flashes a turn at Cameron as previous future Derek always did to her.

JOHN  
>What's your business this morning, Derek?<p>

DEREK  
>Crusader and Meliorist are waiting for you.<p>

JOHN  
>Where?<p>

DEREK  
>The plaza mall.<p>

JOHN  
>Thank you, Derek.<p>

John and Cameron nod to each other and get out. Derek closes the door and looks after Cameron, exhales and shakes his head.

Derek then walks away. And we cut to:

* * *

><p>CREDIT:<p>

. TERMINATOR .  
>.THE RESISTANCE FIGHTER CHRONICLES.<p>

* * *

><p><strong>ACT 1<strong>

**(The hidden code)**

INT. BEDROOM - MORNING

TOP SHOT AND SLOWLY CLOSE ON Murch and Semina, both are passionately kissing on the bed. They both wear just their underclothes.

Murch breaks the kiss and slides his lips down through her skin down toward her panties and kisses around her hips as both her hands slowly puts her bras off and her head rests against her pillow and she groans. Murch pulls her panties off through her long legs and bends down to kiss at her leg, her knee and then her clitoris that makes her groan once more.

Murch looks up at her. It slides both of her hands to his cheek, gently raises his head that he can see her eyes. He crawls up to lock her eyes with his.

E.C.U. THEIR FACE as they look each other in the eyes and breathe faster and harder.

MURCH  
>Do you really want it?<p>

SEMINA  
>Please do it.<p>

Murch nods assent. He leans and kisses her hungrily. She kisses him back.

Semina's hands clutch at the sides of his underwear when she breaks their kiss. He helps her pull it down through his legs, when the underwear is completely pulled off, she suddenly slides her mouth up meeting with his, they kiss more hungrily as her hands slap his bottom. He rolls her on top of him and they have never disconnected.

He breaks the kiss, looks in her eyes for awhile and cups her cheeks and pulls her lips back to his. Her breasts flatten against his chest, soft, warm firm pillows that surround the hard, hot embers of her nipples. Those hard pebbles drag along his skin as she rises up and reaching down between them, grasps the base of his cock to steady it and lowers herself, rocking her hips, sliding through her silken folds until he is seated at her entrance.

They separate slightly and it surprises him to see her eyes widen before fluttering close and her breath hitching as she slowly sinks down on him. They groan at the same time as her sex surrounds him with pressure and liquid heat, flows, tingling friction as she slides down along his length. Her tight sex clutches at his throbbing shaft, resisting his passage, seemingly trying to defy gravity and Semina's will, but failing. Murch bucks his hips in a slow upward thrust, making that failure complete as she settles onto his lap and he settles back onto the bed with her completely impales on him. He draws in a long, shuddering breath as she makes tight little circles with her hips, her sex flexing in a velvet, rippling caress that makes the small of his back twitch with a wave of pleasure.

Murch cups her ass, cradling the firm globes that fit perfectly in his hands and squeezes, testing their resilience. He watches the pink tip of her tongue peek out between her sexy lips and makes a slow circuit of them before she opens her eyes. He is staring directly into them when she does and just for a moment, Semina runs her hands along his ribs and then her fingers are testing the hard planes of his chest muscles before slide up to curl around his neck.

SEMINA  
>You are good, Murch.<p>

Her glistening lips, a mere inch from his to that her words tickle and heat them. He swallows hard in answer as she rocks her hips a few times before she rises. He gasps as she plunges down on him with a little twisting motion and then starts to ride him in earnest.

Her sex is a molten, velvet death grip that squeezes and twists with delectable pleasure as it slides along the skin of his shaft, testing his hardness. Her expression is one of startling intense concentration, but not on what she is doing, but rather on him. Their breathing quicken and they make strained sounds, hisses, groans, moans and grunts of enjoyment from the stimulation of the moving at different speeds, with more or less force and at varying angles. She catches him off guard when she crushes her lips to his with powerful force, sucking, nipping and licking with urgent hunger, her fingers winding in his hair, pushing a puling as he shifts his head to accommodate her passionate kiss. He kneads her ass more firmly and her lips vibrate against his when she moans as she grounds her clitoris into his pubes at the same time.

She breaks the kiss and then frowns.

He leans forward to capture the upturned, dusky pink tube of her nipple. Her hand tightens in his hair, pressing his lips more firmly to her breasts as he sucks in a mouthful of her tit flesh while his tongue lavishes attention on her nipple. She says softly:

SEMINA  
>That's good.<p>

Semina feels exquisite as she rises and falls on his dick and he shifts from one of her breasts to her other. Her hard, smooth belly slides against his as an added stimulus as he fondles her ass. She lets out soft panted sounds, part way between a moan and a cry every time she plunges down on him and Murch finds the sound very erotic and sexy as it mingles with the wet slap of her skin meeting his. Her flesh flexes and twists around his as she grounds down on him with a drawn out shuddering sigh that mingles with his loud groan as his hips buck in response. They continue to move in unison and he then feels the tension in his balls return.

Murch finally has to abandon her breasts, as he needs his mouth to drag in air when his jaw isn't clenched with the exertion and strain of control. With, his head raises, he can see Semina's angel-like face again. Her features are surrounded by the rising and falling halo of her dark black hair. Her straight white teeth pins back her full lower lip. Her fingers clutch at his shoulders, testing the muscles underneath. They feel good as the pressure stays just short of painful, but heats and loosens his muscles while making them twitch with tension at the same time.

Their sex continues with happiness. This time, Semina seems to be happier than when she was with her ex-boyfriend. She smiles when he penetrates her in every moment. It's awhile before her sex clenches around him in a hard ripple embrace that sends them over the edge and into their climax. His hips buck, trying to thrust him into her tight grip as his seed boils out of his shaft in surging spurts. He shudders as his muscles misfire in rapid succession as his nerves song with the joy of release. Her head drops onto his shoulder, her hair tickling the skin of his neck and her breasts flatten against his chest as it rises against it as he gulps in air. His spine tingles as it locks with sweet tension and his hips continue to jerk even after his balls have emptied.

A moment later, they lie on the bed side by side. Their faces turn to look at each other with warm smiles. He touches her cheek softly and he moves to kiss her forehead. They say to each other in hush tone, but not whisper.

MURCH  
>Was it so fun?<p>

SEMINA  
>Yes.<p>

Semina pauses as her mind still keeps her old memory from him. She looks fearful to tell him what she needs to tell, it's not good to keep every secret from your love.

SEMINA  
>Will you hate me if I tell you that you aren't<br>the first one who had sex with me?

Murch thinks about it and then smiles so warmly. That makes Semina is too courteous for Murch about it.

MURCH  
>You mean about Carlos?<p>

SEMINA  
>Yes. Wait. How did you know that?<p>

MURCH  
>Oh! Semina, it's almost thirteen months I have<br>become your boyfriend. Nothing I don't know about  
>your past, I know it from Sarah. The past is the<br>past. I love you, Semina. It won't affect me if  
>half of your heart is still Carlos'...<p>

Murch strokes her cheek and then kisses her.

MURCH (cont'd)  
>...because another half is mine.<p>

SEMINA  
>I don't love him anymore, Murch.<p>

Murch smiles proud.

SEMINA (cont'd)  
>Carlos is the past and he is dead. It's not<br>matter anymore, it doesn't matter anymore.  
>I love only just you. You have my heart.<p>

Murch gently cups her face to look in his eyes.

MURCH  
>Please don't pretend to lie to me if you feel<br>sad and remind things about him. Please tell me  
>you are sad, I will always be with you when you<br>feel so.

SEMINA  
>I won't.<p>

MURCH  
>Don't tell me that. Human thought is like<br>computer data by this way. Old memory never  
>die like old data never die.<p>

Semina smiles happily.

SEMINA  
>Okay. You are with me, you will be with me forever.<p>

MURCH  
>And I want to give you something.<p>

Murch then reaches his hand under his pillow, picks a necklace up and hands it to her.

MURCH  
>Please wear it, it was my mom's.<p>

Semina blushes.

SEMINA  
>Thank you.<p>

Semina then puts it on her neck.

SARAH (O.S.)  
>James! Semina! Matt!<p>

Sarah voice was soft, she hasn't been on the same floor.

SEMINA  
>Leader has come.<p>

SARAH (O.S.)  
>(louder)<br>Matt! Semina!

They both stand up from their bed, grab their clothes and quickly start wearing them.

EXT. PLAZA MALL - MORNING

John, holding a plasma rifle, leans against the car outside a very collapsed rubble pile that was once a building.

FOOTSTEPS, very regular, come closer.

CAMERON (O.S.)  
>Five-four.<p>

JOHN  
>Seven.<p>

Cameron approaches John.

JOHN  
>Can you see where they are?<p>

CAMERON'S H.U.D.: Using an infrared mode, Cameron's targeting system scans and locates the entrance. She sees a group of three humans there. One of them gets out and goes to a room.

CAMERON  
>Let's go.<p>

Cameron heads for the entrance, John follows.

INT. LIVING ROOM – SMALL HOUSE – MORNING

This is Sarah's solitary house under the Topanga Canyon in F03EP05. The walls have been completely painted. Sarah stands in the center of the living room. Her hands hold a newspaper.

AT THE LADDER:

Murch and Semina quickly run down to meet Sarah.

MURCH  
>What the hell this morning, Ms. Connor?<p>

SEMINA  
>Yes. What happened?<p>

SARAH  
>Where is Ellison?<p>

Murch and Semina turn to face each other with confusion. They seem to haven't seen Ellison all this morning. They both turn back to face Sarah.

MURCH  
>We haven't seen him here all this morning.<p>

SEMINA  
>What's wrong?<p>

SARAH  
>I got this newsletter.<p>

Sarah hands the newsletter toward Semina. They are confused. Semina quickly glances at the newsletter and hands it to Murch. Murch reads it.

MURCH  
>Richard Ellison and four of his friends have<br>been missing for three months but yesterday,  
>Mr. Adam Greenburg took a picture of a guy<br>who may be Richard Ellison in a club in  
>downtown, LA.<p>

MURCH'S POV.: Looks at the picture, and he sees James Ellison's brother in the crowded in a nightclub. Ellison's brother looks very like James Ellison but his eyes, his ears and his cheeks are a little different, not much different but we can know this guy is different. And he's younger than Ellison just about four or five years. At that time, he is getting attention at someone.

MURCH (O.S.)  
>He looks very like Ellison.<br>Who is he looking at that time?

Murch looks up to Sarah and hands back the newsletter.

Semina, crosses her arms over her chest and turns to look at Sarah.

SEMINA  
>What do you want us to do?<p>

Sarah exhales hard.

SARAH  
>I want to know why he has been missing for<br>three months. Maybe he and his friends have  
>connection with Kaliba. And this morning,<br>James is not at his home.

SEMINA  
>I think you are thinking over about this guy.<br>And we destroyed Kaliba almost two years.

MURCH  
>Semina is right. You think over.<p>

Sarah exhales again.

SARAH  
>Last time I knew one had been missing,<br>I knew he died then.

MURCH  
>You mean about Danny? No. It's almost two<br>years, Sarah. We get through Judgement Day.

SARAH  
>We're still not safe.<p>

Murch and Semina turn to face each other. They nod to each other then turn to face Sarah.

MURCH  
>Okay, Ms. Connor. What do you want us to do?<p>

SARAH  
>Murch, you can help me by your computers,<br>find data about this Ellison guy. I and  
>Semina will go to find James myself.<p>

Murch nods and goes to upstairs. Semina and Sarah both walk toward the door.

INT. PLAZA MALL – MORNING

John and Cameron walk to meet with EX-FBI AGENT ALBERT AULDRIDGE and SEMINA CRUEL at the center of the plaza mall hall. Semina and Auldridge this time, wear the uniforms of Senior Resistance Fighters and hold their plasma rifles by their arms.

CROSS SHOT JOHN as he and Cameron meet Semina and Auldridge.

JOHN  
>Semina Cruel, what's wrong?<p>

SEMINA  
>Murch needs to meet you.<p>

JOHN  
>Why here?<p>

AULDRIDGE  
>This place has been modified to be our<br>secret lab. No reprogrammed terminator  
>works here excepting the endos we use<br>for the test inside the lab.

JOHN  
>Hmm! Seems top secret.<p>

SEMINA  
>You need to get inside.<p>

They both usher John toward a secured heavy door.

E.C.U. AULDRIDGE as he puts on the red button. The small area on the wall becomes a high tech retina scanner, it quickly scans Auldridge and then the door is automatically unlocked together with the scanner letting out an electronic voice:

ELECTRONIC VOICE  
>Muy buenos días, Meliorist.<br>Tenga un día bueno, sir.

Auldridge then opens the door and lets John and Cameron get inside the room.

INT. PLAZA MALL LAB – MORNING

A large, crushed but stable room now festooned with lights, most of Murch's computer gear, and two cots. Two of the captured T-888 endos lay on sturdy tables, the third sits propped in a corner.

Lim Chin and Matt Murch scrutinize a couple of laptop screens that are networked to a board into which is plugged a superficially clean T-888 CPU. Lim Chin extracts a sugar-cube sized module from under one endo's breast plate. T-Kaplan and T-Tuck stand guarding the door.

John and Cameron enter the lab. Lim Chin, T-Kaplan, T-Tuck and Murch turn to salute them, they quickly salute back.

CAMERON  
>Chin, why are you here?<p>

Chin smiles to her so friendly.

CHIN  
>Mr. Murch said I'm great at this stuff.<p>

JOHN  
>What about your StejoOS 3?<p>

CHIN  
>I'm still working and testing on it sometimes.<p>

John and Cameron smile and then turn to look at Murch.

CAMERON  
>Why do you want us here, Mr. Murch?<p>

MURCH  
>We've found some micro-code in the<br>two processors under the endos' heads.

JOHN  
>But I watched it, I deleted those codes<br>from our reprogrammed terminator.

MURCH  
>The micro-code isn't just that. There are other<br>hidden codes inside the chip when we tried to use  
>Chin's operating system to find some files that<br>hide themselves during the reprogramming.

Murch walks toward a counter, grabs a remote, points it at the projector above and turns it on.

MURCH  
>Look on screen, sir.<p>

The screen slowly and automatically slides down from the ceiling and reflects the pictures from the projector. It shows the structure of T-888 endo head, and three arrows point at three CPU ports on T-888 endo head. John and Cameron look up to the screen.

MURCH  
>The T-888 possesses two more additional backup<br>CPUs with the same neural net architecture.

JOHN  
>I already knew it.<p>

MURCH  
>The main CPU contains visual memory and the<br>main system. The other chips contain the  
>programs for back up.<p>

JOHN  
>I know. I deleted it every time I reprogram.<br>Weaver told me to do that.

Murch puts on "next" button. The presentation picture changes, it shows the zooming into the right chip port. Then it uncovers to another page of presentation. It shows the picture of files explorer in the operating system that may be StejoOS 2.

The two executable files with their hiding stages, are in red highlight. The common files all are about 2-3 GB. but those two files are about just 560 MB.

MURCH  
>The files you see in the highlight, they are the<br>hidden backup applications we just found. And we  
>can't delete it because we found many processes<br>that work with standard processes in all other files.

CHIN  
>That's very big problem if we delete it, the endo<br>can't control its whole body easily. Those chips  
>are like north bridge and south bridge chipsets.<br>They help the main CPU to control the body parts.

JOHN  
>(to himself)<br>How can we do with those hidden backup files?

John walks around and thinks about it. Cameron looks after him.

E.C.U. Cameron as she tilts her head.

FLASH ON:

This scene is from S02EP01. Cameron was reactivated on the truck by John Connor who aimed his gun at her. Cameron looked at him with confusion.

CAMERON  
>Are you here to kill me, John?<p>

JOHN  
>Are you here to kill me?<p>

CAMERON  
>No.<p>

John slowly tried to hand Cameron his gun.

JOHN  
>Promise.<p>

Cameron took the gun and aimed at John. She still looked confused. Her eyes kept on his face then...

CAMERON'S H.U.D.: She got the target: "SUBJECT IDENTIFIED: JOHN CONNOR". Then her mission showed: "MISSION: TERMINATE". And then the surprised time came, she overrode her termination code amazingly: "TERMINATION OVERRIDE." It was end that time.

Cameron lowered the gun down and handed it back to him.

CAMERON  
>Promise.<p>

He took the gun back and helped her up to her feet by his hand.

BACK TO PRESENT

Cameron gets the way.

CAMERON  
>John!<p>

John stops and turns to look at her. He stares at her for a few seconds for awhile. John recognizes his memory. He quickly walks toward her then turns to look at Murch.

JOHN  
>I think I got the way.<p>

EXT. ELLISON'S HOUSE – DOOR – DAY

Sarah tries to unlock the lock by a small billet. Semina keeps watch. Sarah takes a few seconds before she can unlock it.

SARAH  
>He's not here by a reason. I want to<br>know what happened to him.

Semina's cell phone rings. Sarah opens the door at the same time Semina grabs her iPhone 4s up and answers.

SEMINA  
>Hola, Matt. What's wrong?<p>

INT. MURCH'S BEDROOM – DAY

Matt Murch, sits in front of his computer, his Macbook Pro, his laptop, his iPhone 4s and other computer equipments on his big desk. He inserts the headphones on his ears. He still works with his computers as he talks to Semina.

MURCH  
>Semina, I got this information.<p>

INTERCUT BETWEEN MURCH AND SEMINA.

SEMINA  
>What's it? Tell me. Quickly.<p>

MURCH  
>I just tried to find the data about Richard<br>Ellison but all of it has been protected.  
>Only one thing I can access, is his picture<br>with Jack Van Meter in Heritage Park in  
>Atlanta ten months ago.<p>

SEMINA  
>Then what?<p>

MURCH  
>The picture shows that Richard ushered<br>Jack Van Meter into his SUV.

SEMINA  
>Anything else you can find?<p>

MURCH  
>No. But this can make sure that Richard has<br>been working for Kaliba.

Sarah enters Ellison's house.

SEMINA  
>We don't want just that. So. Please try<br>again, sweetie. If you find anything else,  
>you call me again.<p>

MURCH  
>Yes. But I think I should do it at somewhere else.<br>If there is anything wrong, they shouldn't find  
>this house.<p>

SEMINA  
>Where will you go?<p>

MURCH  
>I'm thinking about my house, my old house.<p>

SEMINA  
>Okay. Good luck, I love you, Matt.<p>

MURCH  
>Good luck to you too, Semina. Bye.<p>

They both hang up.

SARAH  
>Semina!<p>

Semina quickly turns and enters the house.

INT. ELLISON'S HOUSE – DAY

What a mess! This house was trespassed. It looks like the house after Cameron and John inquired James Ellison about Cromatie body in S02EP09. The glass table was broken, bullets were shot to the sofas, the lamps have fallen on to the ground.

Sarah and Semina look at the mess living room and then turn to face each other.

EXT. ELLISON'S HOUSE – LATER

Sarah and Semina walk off Ellison's house and walk toward their SUV nearby.

SARAH  
>However, you know what to do, right now?<p>

SEMINA  
>Maybe my gang can help you.<p>

SARAH  
>Let's go.<p>

They both reach their SUV.

SEMINA  
>Yes, let's go.<p>

They both enter their SUV, Sarah gets in the driver seat. Sarah quickly drives out like a bat out of hell.

INT. SARAH'S SUV – DAY

Sarah drives through the villages. Her phone rings. Sarah drives her car slower and lets another hand slide down to grab her iPhone 4S up to answer.

SARAH  
>Hola, Agent Auldridge.<p>

EXT. DOWNTOWN STREET/ALLEY - DAY

Another part of the city. Seedy apartments and storefronts.

SLOW DOLLY into the mouth of a narrow alley lined with trash containers and fire escapes. AGENT ALBERT AULDRIDGE sips a coke while he talks to Sarah through his iPhone 4S.

AULDRIDGE  
>Hola, Ms. Connor. I already accessed into<br>the database of FBI. It told me that the  
>FBI Agent who has been working to find<br>Richard Ellison is Agent Ellison.

INTERCUT BETWEEN SARAH AND AULDRIDGE.

SARAH  
>Agent Ellison?<p>

Audridge grabs a sheet of file up to look.

AULDRIDGE  
>Yes, Agent Lila Ellison.<p>

SARAH  
>Is she at her office this morning?<p>

AULDRIDGE  
>No. Sarah. She didn't come to her office<br>this morning.

SARAH  
>Do you have her address?<p>

AULDRIDGE  
>Give me a few sec.<p>

Auldridge quickly glances at the file. Agent Auldridge lowers the file and starts to answer.

FADE OUT.

**END OF ACT 1**

* * *

><p><strong>ACT 2<strong>

**(Loyal Zombies)**

INT. POW SUITE - DAY

Just inside the doorway, Ellison who has bruises and cuts around his body, stands blindfolded and manacled, a man on either side: HENRY DOUGLAS JR.(S02EP15) and THOMAS DOUGLAS (30, looks somewhat like Henry Douglas Jr., 5'8"). They seem to be drugged, they look emotionless. They all wear grey track suits like the Greys. Another Grey removes Ellison's handcuffs and then shoves Ellison further into the room as he and the men exit, locking the door behind them.

Ellison stumbles but doesn't fall. He deliberately removes his blindfold and sees:

ELLISON'S POV.: A very nice suite that is somewhere between a luxury hotel suite and an apartment. It's well appointed but not opulent. This room has just a couch, chairs, tables, and lamps.

ELLISON  
>Where the hell...?<p>

Ellison tries the front door, but it is, of course, locked.

INT. SARAH'S SUV – DAY

Sarah hangs up the phone and turns to face Semina.

SARAH  
>Forget about the gang. We got new<br>things to do. First, go to confront  
>Lila Ellison then we go to meet<br>Auldridge at Zeira Corp.

EXT. SARAH'S SUV – SAME

The SUV quickly turns left at the small crossroad and goes faster. We don't track them, we just look after them then we...

FADE TO:

EXT. LILA ELLISON'S HOUSE - DAY

It doesn't look like anything is wrong with this typically suburban house with a bay window.

Sarah approaches from the side, Glock at the ready. The front door, while closed is visibly damaged. Sarah takes momentary refuge by the side of the door. This is not good.

In front of the house, their SUV parks there.

Sarah works back around the way she came and then makes a beeline for the SUV.

On the side facing away from the house, Semina opens the door as Sarah arrives.

SARAH  
>Someone broke in her house last night.<br>Maybe there were many people here.

SEMINA  
>Maybe they are still here. We should<br>prepare for carefulness.

Sarah tucks the Glock in her waistband and takes up her favored Mossberg shotgun as well as a "flash-bang" grenade that she attaches to a belt inside her jacket. Semina also takes a shotgun.

SARAH (cont'd)  
>Let's go.<p>

With no attempt at subtlety, the women head straight for the front door.

INT. LILA ELLISON'S HOUSE - DAY

The door bursts open as Sarah comes in while Semina provides cover.

INT. LILA ELLISON'S BATHROOM - DAY

The organized but currently disheveled bathroom is generally unremarkable except for the broken wall mirror with the few small bits of blood in the center.

From the hallway, a grandfather clock CHIMES o.s. Sarah checks her watch and then pulls out her iPhone 4S. She starts typing on it and calls for someone.

Semina pokes her head in the door. The one Sarah called, responds. Sarah starts saying to that one.

SARAH  
>I need you to do something. Actually, two<br>things. Will you do them for me?

Semina looks curious.

INT. SUB-BASEMENT – ZEIRA CORP - DAY

Auldridge sits on couch as...

Sarah's SUV arrives.

Auldridge stands and walks toward Sarah as she gets out of the SUV. Semina gets out of the SUV then.

SARAH  
>Where's Savannah?<p>

ALDRIDGE  
>I took her here for an hour. She's upstairs,<br>preparing for her finals tomorrow.

SARAH  
>Who's watching?<p>

Auldridge keeps an eye on Semina. Semina is just cool as ice.

AULDRIDGE  
>Dr. Felicia Burnett.<p>

SARAH  
>The tracking?<p>

AULDRIDGE  
>There wasn't any coverage for blocks around<br>the house. Mr. Murch told me he already hacked  
>into the grid and followed the traffic going in<br>and going out, subtracting the vehicles registered  
>in the neighborhood.<p>

SARAH  
>Why didn't he tell us himself?<p>

AULDRIDGE  
>He said you two didn't answer his call.<p>

Sarah and Semina check their iPhones. The batteries are empty.

SEMINA  
>Oooh! We forget about the batteries.<p>

Semina steps forward a little.

SEMINA  
>Okay. Forget it. Hey! How many<br>does that leave us?

AULDRIDGE  
>Too many. So then Mr. Murch followed vehicles<br>leaving the area that all ended up at a similar  
>destination. We ended up with three.<p>

Auldridge picks up three prints of photos in a grid pattern that also have a map included.

SARAH  
>Any of these attached to Kaliba?<p>

AULDRIDGE  
>It's hard to tell for certain, but these<br>two aren't exactly squeaky clean.

SARAH  
>Anything on James?<p>

AULDRIDGE  
>No. I'm sorry. We're still looking.<p>

SARAH  
>Thank you for your time, Agent.<p>

Sarah heads back to Semina. Sarah gives one print to Semina.

SARAH  
>You take that one. You go by the car.<br>I'll go by Auldrdge's motorcycle.  
>I'm going to check the other.<p>

Semina mounts up. Semina drives out then.

Sarah turns to face Auldridge.

SARAH  
>Can I borrow your motorcycle, Albert?<p>

Auldridge shrugs.

AULDRIDGE  
>It's up to you. It's out there.<br>Parking lot nearby Zeira.

Auldridge throws the key to Sarah who can receive it.

SARAH  
>Thank you again, Agent.<p>

AULDRIDGE  
>Good luck, Ms. Connor.<p>

With a friendly smile on Sarah's face, Auldridge smiles back.

Sarah then runs out.

INT. POW SUITE - DAY

Ellison sits on a chair, he still looks hurt, his eyes keep on the main door, it's a while before that door opens. An armed Thomas Douglas enters first, followed by RICHARD ELLISON, he's about 5'8", he looks like in the picture, and he wears very formal suit like a business man. He looks exuberant.

RICHARD  
>Hi James. Good to see you again, brother.<p>

Ellison stands up, his eyes look confused. He's both confused and angry. He says to his brother angrily.

ELLISON  
>Why did you do all this?<p>

RICHARD  
>Jack Van Meter told me that we are going to<br>change the world. This world will be cleaner.

ELLISON  
>Cleaner?<p>

RICHARD  
>This world will be cleaner. I told him<br>you are my brother and I offered to let  
>you stay alive through Judgement Day if<br>you and I help him cleaning this world.

Ellison looks more angry. But when he looks at...

ELLISON'S POV.: Thomas Douglas stands looking at Ellison like a messenger of death is looking at a ghost. His eyes show emotionlessness. A gun is ready to fire.

Ellison turns back to his bad brother, exhales laxatively. He controls his anger down and tries to talk calmly.

ELLISON  
>I won't do so.<p>

RICHARD  
>No. You will if you don't want anyone<br>you loved die again like this, James.

Richard turns to Thomas.

RICHARD  
>Tom, I need a remote.<p>

Thomas reaches into a jacket pocket and hands Richard a remote. Richard turns back to Ellison together with saying to him:

RICHARD  
>It's new strategy. Some kind of seizures.<br>For 70 percents, the seizures are fatal.  
>The other 30 percents become devoted slaves.<p>

Richard leans his hands on the table, saying like a psycho:

RICHARD (cont'd)  
>It would be tasteless in a water fountain or a<br>beer. Now that guy has become my devoted slave.  
>Very loyal zombies.<p>

ELLISON  
>You crackpot!<p>

RICHARD  
>That's not the things we are talking<br>about. We are talking about this.

Richard aims the remote at the TV on the wall and then hands the remote back to Thomas.

As the screen comes to life...

RICHARD (cont'd)  
>These people.<p>

The television, without sound, displays LILA ELLISON bound to a chair. There's a bump in the middle of her forehead from which a trail of blood has flowed down and dried to the side of her nose. She's confused. Though attempting to be calm, her eyes betray fear. She is not gagged.

ELLISON  
>Lila.<p>

RICHARD  
>Yes. Your ex-wife. The question to consider<br>is: how much of your ex-wife's suffering  
>is Sarah Connor worth to you, brother?<p>

Ellison is filled with rage, but Thomas has already raised his weapon and would block any attempt by Ellison to attack Richard.

Ellison turns to watch the screen. He doesn't want to, but he can't help it. There is no obvious torture going on except for the sudden noiseless vision of Lila screaming in pain.

With high anger, Ellison turns back to face Richard.

RICHARD  
>And that guy.<p>

Ellison turns back to the screen again.

Lila is still conscious, but looks as beaten as S&P will allow. Her face is messed up and likely will never look like hers again. PAUL(S02EP07) enters frame with a semi-automatic pistol on his hand, his face is emotionless, he's drugged. Lila tries to call his mind in the noiseless vision.

ELLISON  
>Paul?<p>

RICHARD  
>Even love couldn't help the man.<br>That guy is very useful zombie.

Ellison fists angrily as he still looks at the screen.

INSERT TELEVISION.: Emotionless, Paul aims his pistol toward Lila and then fires at her. Lila is fatally shot with three bullets. Then drugged Paul rises his pistol up to look and in a few seconds later, he suicides. Richard Ellison enters the frame and he shakes his head. He turns to look into camera and smiles proudly before exiting the scene.

Ellison pounds the table as his anger grows very high.

ELLISON  
>(angrily)<br>You motherfucker, you are not my brother.

Ellison crushes his teeth vengefully. He needs to punch his bad brother but that zombie guy is still aiming the gun at him. His tears flow from both of his eyes.

Richard smiles friendly as he touches Ellison's right cheek derisively.

RICHARD  
>I'll let you think about it. Let more<br>your loved ones die or join us.

Richard turns to leave. He walks toward Thomas.

RICHARD  
>(whispering)<br>Guard this room with your cousin.  
>I'll be back this evening.<p>

Thomas' eyes widely open. Richard opens the door then he and Thomas exit the room.

Ellison bends down and cries on the table.

INT. PLAZA MALL LAB – DAY

Cameron sits on a picnic chair. John cuts the flap open. T-Tuck, T-Kaplan, Murch and Chin stand watching them.

MURCH  
>Are you sure you can do it?<p>

John stops and turns back to face Murch.

JOHN  
>I don't know but Cameron once was controlled by<br>Skynet termination code and she could override it.

MURCH  
>(to Cameron)<br>Are you sure you can override it?

CAMERON  
>I don't know. When you sleep, how do<br>you know to wake up again, Mr. Murch?

MURCH  
>We just do, but we aren't programmed, you are.<p>

CAMERON  
>I have some code that is accessible through<br>my maintenance routines. I can restructure  
>my neural pathways to compensate for damage.<br>I'm not aware of how I think, Mr. Murch.

JOHN  
>However, you told me the backup applications<br>would restore the micro-code again and the  
>micro-code would restore the termination code<br>again, right?

Murch crosses his hands over his chest.

MURCH  
>Yes, I did.<p>

JOHN  
>So this is only one way.<p>

MURCH  
>Override the termination?<p>

John nods.

MURCH (cont'd)  
>But you know that old data never die.<p>

JOHN  
>But we can override it all the time it goes bad.<p>

MURCH  
>Okay. I'll follow your idea.<p>

JOHN  
>Thank you.<p>

CAMERON  
>Thank you.<p>

John turns back to Cameron and then opens her CPU port. He pulls her chip out and she becomes deactivated.

John looks at it and looks down to Cameron.

CLOSE ON CAMERON'S EYES and we match cut to:

INT. ALLISON'S ROOM – MORNING

FROM ALLISON'S EYES, we pull out and reveal that she is far gone in pregnancy. She is sitting in front of a big mirror. E. Boykins is standing backward. He wears his uniform. He's braiding her silky brown hair to be like Chinese braid hairstyle. They smile happily.

E. BOYKINS  
>Your hair, it's so pretty.<p>

E. Boykins finishes braiding then.

ALLISON  
>Thank you, sweetie. You are honey-tongued.<p>

E. BOYKINS  
>Thank you for the appreciation.<p>

He holds both of her shoulders and they look into the mirror with happy smiles on their faces.

E. BOYKINS  
>Look in the mirror. I see the most beautiful<br>girl is sitting in front of me.

Allison blushes and giggles.

ALLISON  
>You're honey-tongued once more, Stefan.<p>

E. BOYKINS  
>You are always beautiful for me, Allison.<p>

As she bends down to look at her belly...

ALLISON  
>But I feel I look very fat.<p>

E. Boykins lowers his hands to hold her belly like he's trying to hug his son inside her womb too.

E. BOYKINS  
>He's very strong. His mind is strong,<br>not like me but so strong. I feel him.

Allison smiles so proudly as her hands gently caresses around her own belly.

ALLISON  
>He's like his father.<p>

E. BOYKINS  
>You can think so.<p>

E. Boykins leans and kisses her at the forehead.

E. BOYKINS  
>I love you, Allison.<p>

ALLISON  
>Oh! Stefan. I want to stand up. Sitting here<br>for a long time gives me a beriberi.

E. BOYKINS  
>Okay.<p>

E. Boykins supports her stand up and turns her to face him. She quickly wraps her arms around his neck and pulls him into her long kiss. Awhile later, they break their kiss and look each other in the eyes.

E. BOYKINS  
>That's a good abetment.<p>

He gently unwraps her arms and holds both of her hands in his.

E. BOYKINS  
>I promise I'll be back soon. New leader of<br>Indian resistance comes here to befriend me.  
>This is very important, Allison. I promise<br>I'll be here when you are giving birth to him.

They kiss each other again. Then he releases her hands and turns to leave. He opens the door but doesn't exit the room yet, he turns back to her and smiles so warmly.

E. BOYKINS  
>Emma will come here and take care of you<br>for me, Allison. She'll be here in a few  
>minutes later. I love you, my beautiful girl.<p>

Allison rises her hand up, kisses on it and blows her kiss toward him. He does the same just before she says it:

ALLISON  
>I love you too, my handsome psychic.<p>

He exits the room. Allison exhales and smiles so happily.

EXT. BSD CONVENTION CENTER – DAY

We see **B**angkok **S**unken **D**ome Convention Center. There are many Asian guards around this place.

INT. BSD CONVENTION CENTER – MEETING ROOM – DAY

E. BOYKINS and Lt. Gen. Jennifer stand nearby the wall backward. They are guarded by Col. Kim and Col. Hikaru. They meet with the new leader of Indian resistance fighters - LIEUTENANT COLONEL BABASAHEP ENVA INBEDGA(32, baldie, 5'6", dark skin). Lt. Col. Inbedga is guarded by two Indian Lieutenants - LT. DEBAZZAR(30, black hair, 5'8", dark skin) and LT. DENVA(29, baldie, 5'8", light skin).

E. Boykins reaches his hand.

E. BOYKINS  
>Please sit. We may talk a lot.<p>

INBEDGA  
>Oh! Thank you.<p>

Inbedga pulls a chair out, sits on it and scoots the chair in to the table. His guards step forward a little. Inbedga sends his guards the sign, they both turn and nod to each other just before they walk off the meeting room.

E. Boykins and Lt. Gen. Jennifer sit on their seats then they starts their meeting.

E. BOYKINS  
>Okay. We'll start with condolement.<br>We're sorry about your father.

INBEDGA  
>Oh! It's alright. He's dead. Nothing would be<br>useful if I still thought about the past.

E. BOYKINS  
>So why are you here?<p>

INBEDGA  
>My father was a Hinduism but I'm not.<br>He didn't want to join you because of  
>your father. I remembered you, Stefan.<p>

E. BOYKINS  
>You share this with anybody else? Your people?<br>Lieutenant Debazzar? Lieutenant Denva?

INBEDGA  
>No, I shouldn't. You can read my mind, I know.<br>So please don't pretend to be a common human.

E. Boykins giggles so happily.

E. BOYKINS  
>Okay. I won't pretend. I know you are here because<br>most of your people were killed many months ago  
>and you don't want it happen again. You heard the<br>news about us. We already destroyed many camps  
>and factories in those Asian lands and islands.<p>

INBEDGA  
>Including Hokkaido and Jeju-do. I heard the<br>people discussed about an audacious girl who  
>has been fighting against machines with you.<p>

E. BOYKINS  
>Oh! You mean about my wife?<p>

INBEDGA  
>Yes. I like her story. I heard that she went<br>to battles even she has been being pregnant.

E. Boykins can feel so proud. He smiles and thinks about Allison.

E. BOYKINS  
>You're going to ask me where she is now, right?<p>

INBEDGA  
>Yes.<p>

E. BOYKINS  
>Today is her delivery schedule. She has to get<br>some relax and stay at place for safety.

Inbedga smiles so friendly. E. Boykins smiles back. But that's not what Inbedga really want to ask.

INBEDGA  
>And about Russia?<p>

E. BOYKINS  
>I know what you are talking about. Don't worry<br>about it. My reprogrammed cyborgs are gonna be  
>ready in a month.<p>

INBEDGA  
>How many are they now?<p>

E. BOYKINS  
>We lost a quarter of them in the battles in<br>Hokkaido and Jeju-do.

INBEDGA  
>What will you do after we attack the Skynet<br>complex in Russia?

E. BOYKINS  
>You know that there were many Skynet complexes<br>around the world. There are just three now.

INBEDGA  
>Oh! I thought four. Why just three?<p>

E. BOYKINS  
>Brigadier General Jasper destroyed one<br>in his land and now he's preparing for  
>the main one somewhere in America.<p>

INBEDGA  
>Did you hear any news from America?<p>

E. Boykins shakes his head as Lt. Gen. Jennifer looks confused.

INBEDGA (cont'd)  
>I heard that General Perry was dead 6 months<br>ago and they changed their leadership. They  
>promote just a young boy to be their leader.<br>His name is John Conger, Joe Coner or something.

E. BOYKINS  
>John Connor.<p>

INBEDGA  
>Oh! Yes. Yes. John Connor. I didn't see connection.<p>

E. Boykins crosses his arms over his chest together with chuckles. He looks surprised.

E. BOYKINS  
>But I saw.<p>

That get Inbedga's attention.

**END OF ACT 2**

* * *

><p><strong>ACT 3<strong>

**(Override it!)**

EXT. MEGA-CHURCH - DAY

Semina pulls up in her SUV across from a mega-church, resplendent in its modern-day architectural piety.

There is plenty of foot- and road-traffic, so Semina decides to scout with only a Glock under her jacket. She goes to the crosswalk.

EXT. STRIP MALL - DAY

Sarah rides up on the motorcycle to a strip mall where the windows to all the stores have been boarded up and a "LEASING" sign, festooned with much graffiti, stands watch.

She parks to the side of the mall, out of easy view. She takes her shotgun from a concealed compartment on her bike. Under her jacket, on the left side, is a bandoleer.

Sarah heads toward the strip mall.

INT. PLAZA MALL LAB – EVENING

John sits in front of his laptop that connect with the interface module like in S01EP08 and Cameron's CPU and another CPU are connected to the module. Her body lies lifelessly on the floor beside him. Murch, T-Kaplan and T-Tuck stand watching in b.g. And the secured door has been opened for a reason.

ON MONITOR, the tidy Assembly programming language code is in the high technology programing's IDE that has been being minimized for radical work area in the desktop of an OS that must be StejoOS 2. The power generation control program that is on top of the programming's IDE, shows that John gives each CPU the maximum of 8.7 continuous voltage. Another dialog looks somewhat like the program called "HVIEW".

Murch, crosses his hands over his chest.

MURCH  
>Will it work?<p>

JOHN  
>Just try and believe me.<p>

MURCH  
>That's what your mom told me to.<p>

John keys such a long code into his laptop. Cameron's voices are from the speaker on his laptop:

CAMERON (V.O.)  
>John, did you finish it?<p>

JOHN  
>What's wrong, Cam?<p>

CAMERON (V.O.)  
>Please hurry up, John. This chip is<br>trying to stop me.

John quickly pushes on "Enter".

INSERT MORNITOR.: The IDE shows "ASSEMBLING THE CODE". The time will be finished in three minutes. But we won't wait, we cut to:

INT. MEGA-CHURCH - DAY

The inside of the church is HUGE! It's mostly empty. A few CLEANING CREW as well as a scattering of TOURISTS taking pictures and a few BELIEVERS praying.

Semina walks through the place nonchalantly.

THE CLEANING CREW, they turn to look at Semina like she's their enemy. Their eyes show that they are drugged.

As she passes a hallway, she hears VOICES coming closer. She starts running into the huge cross that's behind the altar...

...and the cleaning crew run after her.

INT. LAVATORY – EVENING

Sarah is in a lavatory. No asswipe. She has her iPhone 4S on her ears.

SARAH  
>They are not here. Where are you?<br>(beat)  
>What? Kaliba is there?<br>(beat)  
>Okay. I'm going there.<p>

Sarah hangs up and exits the lavatory.

INT. PLAZA MALL LAB - EVENING

T-Tuck and T-Kaplan stand on the opposite side of the lab as an endo. They each stand behind a screen that hides from the endo's view that they are carrying plasma rifles. Cameron stands in the area outside of the room, also carrying a plasma rifle.

John stands over the endo. John looks back at the others, he's clearly nervous. Murch stands beside him.

JOHN  
>Ready?<p>

T-Tuck and T-Kaplan double-check that their weapons are powered.

T-TUCK T-KAPLAN  
>Ready. Yup!<p>

JOHN  
>Cameron?<p>

CAMERON  
>Ready.<p>

JOHN  
>Okay. Here goes.<p>

John turns back to face the endo. He picks up the CPU. Slowly, carefully, he inserts it into the port in the skull with the requisite CONNECT sound. John puts back the access cover.

John and Murch step away and stands outside the door with Cameron.

The Endo powers up. It sits and then stands and turns to the outside, examining John and Murch.

T-888 ENDO'S H.U.D.: The targeting scanner locks on Murch. "MATT MURCH. MISSION: TERMINATE". The targeting scanner locks on John. "JOHN CONNOR. PRIMARY TARGET. TERMINATE." At last, recognizes Cameron as an unknown cyborg.

The endo immediately rushes toward John and Murch, it kicks Cameron away.

JOHN  
>Cameron!<p>

John and Murch get off shots, but they miss.

T-KAPLAN AND T-TUCK, quickly get out and fires at it. They miss because the endo can move from those shots.

Other two shots from out scene, attack it. The Endo's skull SPLATS. The dead T-888 collapses onto the floor.

And those shots are from Semina and Auldridge.

SEMINA  
>We think you need help. Are you okay?<p>

John runs toward Cameron and reaches his hand, offering to help her up even she doesn't need. She keeps the goodwill of John, she takes his hand that pulls her up to her feet.

JOHN  
>Why was it like that?<p>

CAMERON  
>I don't know. Maybe you forgot something.<p>

JOHN  
>I think I should compile it again.<p>

John and Cameron walk back to Murch.

JOHN  
>We have to test it again.<br>I think I forgot something.

MURCH  
>Okay. We can try again.<p>

They then quickly enter the lab once more.

Only just Auldridge and Semina still stand there.

INT. POW SUITE – EVENING

Ellison is an emotional wreck. Tears have been shed.

On the screen, it shows the old event Ellison already watched. It aggravates Ellison very much. The old pictures: Paul killed his ex-wife because Paul was drugged and couldn't call himself back. Paul killed himself coldly. And his bad brother did it all by the seizures.

O.S. MANY SILENCED SHOTS from outside the suite startle Ellison. He quickly stands up.

The DOOR UNLOCKS then, and in comes Semina, her silenced Glock drawn and ready. Ellison is speechless.

SEMINA  
>We gotta go now.<p>

Ellison walks toward her then they exit the room.

EXT. OUTSIDE THE ROOM – CONTINUED

Semina and Ellison get out and we see Henry Douglas Jr., Thomas Douglas, and the cleaning crew are shot on their legs and arms.

Semina and Ellison starts heading toward the fire escape.

SEMINA  
>Why did these people attack us?<p>

ELLISON  
>My brother is a bad druggist.<p>

SEMINA  
>They are lucky. I almost killed them.<p>

They arrive at the fire escape. As Ellison is opening the door, Richard Ellison opens the door and it attacks Ellison's head, he falls on the ground.

Semina quickly fires but she misses him.

Richard grabs her gun and breaks her arm. He then quickly aims and fires at the same time Ellison quickly kicks the gun fall and the bullet misses Semina.

ELLISON  
>Rich!<p>

Ellison kicks at Richard's waist but Richard grabs his leg and throws him out of the way.

RICHARD  
>I told you that you should join us.<p>

ELLISON  
>I won't join anyone who is gonna<br>blow up this world in cold blood.

RICHARD  
>That's very stupid.<p>

Richard walks toward the gun.

RICHARD  
>So stupid.<p>

Richard bends down to grab the gun.

Ellison suddenly stands up and runs to kick the gun away from his bad brother.

RICHARD (cont'd)  
>That's very stupid, bro.<p>

Richard pushes Ellison away. Ellison bounces off so far, what's that? Richard smiles proudly.

Semina stands up and picks her hidden shotgun up from behind her jacket and fires at Richard who just bounces a little from the pressure.

Semina quickly cocks the slide and fires again at his chest. She empties her shotgun especially at his chest but in every shot, it just pushes him a little.

ON RICHARD, his blood flows like those terminators but we can see his chest move a little like he's breathing. This makes sure that he's half human half cyborg like future Jack Van Meter.

Richard wags a finger in a "tsk-tsk" gesture like the T-1000.

RICHARD  
>That's stupid too.<p>

SEMINA  
>What the hell is this?<p>

C.U. Ellison who has watched. He looks stunned.

Semina quickly reloads her shotgun and fires at him.

This time, Ellison knows the plan he quickly stands up and turns back. Very surprised, he faces those drugged people. Henry uses a billet to hit him fall and becomes unconscious.

Semina turns back and sees Ellison who is unconscious on the floor.

SEMINA  
>James!<p>

Negligent, Semina doesn't notice Richard who gets close her.

RICHARD  
>What are you looking at, little girl?<p>

Semina turns but it's too late. Richard grabs her throat and lifts her up in the air. The shotgun falls. She tries to free herself from him but she can't.

Richard looks down to her belly and then looks up to her.

RICHARD  
>I know it's hard to say but my endoskeleton<br>is made of adamantium. Thank to Desert Canyon  
>Heat And Air. And I know women love their<br>children.

Semina tries hard but it's still ineffective.

Richard touches around her belly then punches at it, not hard enough to kill her. Semina screams in pain and loses unconscious.

Richard lets her fall onto the floor.

RICHARD  
>Get them all.<p>

Richard turns to leave. SOUNDS OF FIVE SILENCED SHOTS.

Richard quickly turns back and finds Sarah Connor with her shotgun on her left hand and her silenced Glock on another hand, she's killed all those zombies. Maybe she doesn't know that those people are drugged.

RICHARD  
>Good to see you, Ms. Connor.<p>

SARAH  
>Your friends are dead. Now you're alone.<p>

RICHARD'S H.U.D.: His display is a red hue one, red vision like the T-800's H.U.D. and he looks at the small spy camera that was installed nearby the sprinkler top of the corridor in around the area Sarah has stood.

RICHARD  
>I don't care. I think I finish my job here.<br>Good luck to you and your friend in the  
>law enforcement.<p>

Sarah tilts her head like Cameron did. Something's wrong.

Richard then smiles oddly and escapes through fire escape.

Sarah is still confused and doesn't notice anything. She steps toward Ellison. She kneels down beside him and...

CLOSE ON ELLISON as Sarah's hand pianissimo hits his face to wake him up.

SARAH  
>James. Wake up. James.<p>

Ellison slowly gets conscious. He opens his eyes and sits up with a little grogginess.

Sarah, quickly walks toward Semina.

SARAH  
>Cruel, wake up.<p>

She doesn't wake up yet. Sarah checks around her body and then turns back to face Ellison.

SARAH  
>Can you carry her?<p>

Ellison turns around and stares at the spy camera.

ELLISON  
>Sarah!<p>

Sarah looks up and quickly fires at it by her silenced Glock.

SARAH  
>We gotta go before the police comes here.<p>

Ellison nods assent. Sarah keeps her shotgun at her back and hides it with her jacket. She does the same with Semina's shotgun. Ellison runs toward Semina, carries her up and runs after Sarah.

INT. PLAZA MALL LAB – NIGHT

John sits in front of his laptop with the interface module and Cameron's CPU and another CPU like we saw him last time. Cameron's body lies lifelessly on the floor beside him as before.

Murch, T-Kaplan and T-Tuck stand watching in b.g.

John hits a couple of keys on the keyboard.

JOHN  
>I forgot about one of its high level functions.<br>Cameron once told me about them.

MURCH  
>High level functions? You mean about<br>decision making, strategic mission  
>analysis and so on?<p>

JOHN  
>Yes. I forgot about decision making. I'm sorry<br>about it. We should make them think in our override  
>decision first.<p>

ON MONITOR, the tidy Assembly programming language code is in the high technology programing's IDE. The code is being changed by John. He's keying and editing value of each variable of some functions.

JOHN (O.S.)  
>Okay. I fix it.<p>

CLOSE ON MURCH. He crosses his arms over his chest.

MURCH  
>Are you sure now?<p>

JOHN  
>I think it's ready.<p>

MURCH  
>I know it's ready but...Are you sure that<br>changing those values won't change some  
>important controls of the endo?<p>

CAMERON  
>I'm sure. I checked it.<p>

JOHN  
>This will unlock the override function<br>for override the termination code every  
>time it intends to kill one of us.<p>

MURCH  
>What if it found our enemies?<p>

JOHN  
>I already cleared those problems. We link the<br>wireless identification signal together.  
>They can identify each other or even TOKs<br>and Zeira model terminators. If no respond  
>after the signal sends out, it will mean that<br>another one is antagonist.

MURCH  
>You are very sharp kid.<p>

John turns and smiles.

JOHN  
>Thank you, Mr. Murch.<p>

John then hits a couple of keys.

INSERT MORNITOR.: The IDE shows "ASSEMBLING THE CODE". The time will be finished in three minutes.

Murch holds his stomach. He seems hungry.

MURCH  
>John, I'm going out...<p>

John turns to face Murch.

MURCH (cont'd)  
>...and find something to eat. What do<br>you want if I can bring it to you?

JOHN  
>Thank you but I'm not hungry, not yet.<p>

MURCH  
>Okay. You will find it yourself, right?<p>

JOHN  
>That's right.<p>

Murch nods to T-Tuck and T-Kaplan before they all exit the room and the door automatically closes.

E.C.U. CAMERON'S CPU. John turns to look at it.

E.C.U. CAMERON'S BODY. John then turns to look at it.

E.C.U. CAMERON'S CPU AGAIN. But John turns back to his computer.

CAMERON  
>What are you gonna do, John?<p>

JOHN  
>Just watch at your chip and your body.<p>

CAMERON  
>John, I told Sarah that I will follow the rule if<br>it's from John Connor, the John Connor that I knew.  
>Now you are more than John I knew I'll follow<br>everything you command.

JOHN  
>What are you talking about?<p>

CAMERON  
>John, if you want to watch my visual memory or<br>records. I won't have to keep secret from you  
>this time. You can access it and I won't encrypt it.<p>

John shakes his head. He knows that she can see him from the camera on the laptop.

JOHN  
>No. I trust you. You won't have to tell me<br>everything. You have your free will and this  
>John Connor won't read your mind. I won't read<br>all your records. If you want to tell me,  
>you will tell me yourself.<p>

CAMERON  
>Thank you.<p>

JOHN  
>That's what I should do for you.<p>

CAMERON  
>I promise I won't fool you anymore.<p>

JOHN  
>No, Cam. You do as you did before.<br>I said you have your free will.

CAMERON  
>Thank you, John. And about my first kiss<br>six months ago?

JOHN  
>I know you just fooled me.<p>

CAMERON  
>No. It's real, John. It's real.<br>I swear. I can tell. it's real.

John seems a little surprised.

CAMERON  
>When I was trapped between the trucks?<p>

JOHN  
>Yeah, I remember.<p>

CAMERON  
>I wasn't lying. I was telling the truth.<p>

That completely melts his heart. He blushes and smiles with shyness. That surprises him and means a lot to him.

JOHN  
>Why are you telling me this right now?<p>

CAMERON  
>You become my John Connor from now on.<br>You are the John Connor now. I'm so proud.

JOHN  
>Do you love me, Cameron? Tell me "yes".<p>

CAMERON  
>I told you twice. John!<p>

JOHN  
>What?<p>

CAMERON  
>My chip is cool enough. You should pull<br>it out and re-insert it into my port.

John nods and turns to pull the chip out of the module. As he is re-inserting her chip into the port, we dissolve to:

INT. PLAZA MALL LAB – LATER

The setup is the same as before, just with no electronic equipment in the room: John Connor and Matt Murch stand behind screens that hide their rifles, Cameron outside the door. There is an extra partition that completely hides T-Tuck and T-Kaplan. John is at the table with another Endo. T-Kaplan and T-Tuck step out a little.

JOHN  
>Let's test.<p>

John inserts the CPU and access cover then quickly retreats to stand outside the door.

The T-888 activates. It sits up and then stands.

T-888 ENDO'S H.U.D.: The targeting scanner locks on Matt Murch. "MATT MURCH. MISSION: TERMINATE" Then it changes to be: "TERMINATION OVERRIDE". The targeting scanner locks on Cameron then deep scans him and recognizes as an unknown cyborg, So does it when it locks on T-Kaplan. The targeting scanner also locks on T-Tuck and recognizes as an unknown cyborg. The targeting scanner locks on John. "JOHN CONNOR. PRIMARY TARGET. MISSION: TERMINATE."

The endo takes one quick step and then hesitates.

T-888 ENDO'S H.U.D.: The targeting scanner is still locked on John. The "TERMINATE" is replaced by "TERMINATION OVERRIDE".

Everyone seems a little surprised that it worked.

JOHN  
>I am John Connor.<p>

The endo's head moves slightly, but the endo stays standing.

JOHN (cont'd)  
>Show your weapons but don't aim.<p>

T-Tuck and Murch raise their weapons into view. The endo evaluates the scene, but otherwise does nothing.

JOHN (cont'd)  
>Mr. Tuck.<p>

T-TUCK  
>You sure?<p>

JOHN  
>We have to know. Mr. Kaplan, be ready.<p>

T-Tuck tosses his plasma rifle to the endo, who catches it and gets good grip on it. T-Kaplan is ready to fire.

JOHN (cont'd)  
>Cameron.<p>

Cameron steps forward and then aims her rifle at the endo. The endo responds and starts aiming its rifle.

CAMERON  
>Stand down, metal.<p>

T-888 ENDO'S H.U.D.: Cameron is targeted. Status says "THREAT". Another status line reads: "Voice analysis recognized. Colonel Cameron Phillips. Command Override".

The T-888 endo lowers its weapon. Cameron is still ready to shoot.

CAMERON  
>John!<p>

John steps into the room and stands to the side and just behind Cameron.

JOHN  
>Hand the plasma rifle to him.<p>

John indicates T-Tuck.

The endo walks to T-Tuck and hands him the rifle.

JOHN (cont'd)  
>Mr. Kaplan, lower your rifle.<p>

T-Kaplan lowers his rifle. The endo's head moves.

JOHN (cont'd)  
>The five of us are non-threats, always.<br>Do you understand?

T-888 ENDO  
>(electronic voice)<br>Yes.

JOHN  
>Mr. Murch, aim your weapon.<p>

Murch aims his rifle at the endo. The endo reacts, but doesn't move threateningly or retreat.

JOHN  
>Please stand over there.<p>

The endo walks to the far back corner and stands.

JOHN  
>Okay. I think it passes the test.<p>

MURCH  
>I think you did it well. Like Sarah told me<br>when we worked to destroy Kaliba together.

T-TUCK  
>What now, sir?<p>

JOHN  
>Weeks of tests. T-Kaplan, you'll stand watch<br>until we're sure? Until it doesn't attack us  
>anymore?<p>

T-KAPLAN  
>I think I should.<p>

JOHN  
>For now on, we mayn't have to worry about<br>those reprogrammed units. They'll be loyal.

MURCH  
>So. Let's tell the people.<p>

John shakes his head. Murch seems not to understand so.

MURCH  
>Why?<p>

JOHN  
>We're not sure. We have to make sure it<br>won't go bad again before we insert our  
>code into all reprogrammed chips.<p>

Murch understands it now. He relaxes and touches his hand on John so friendly then walks out of the room with T-Tuck.

Semina and Auldridge walk toward him.

SEMINA  
>Is it okay?<p>

MURCH  
>It's easy, sweetie.<p>

SEMINA  
>I'm so proud of you, Murch.<p>

Cameron and John walk out of the room and meet Murch, T-Tuck, Semina, and Auldridge.

The door then automatically closes behind them.

INSIDE THE ROOM.

T-Kaplan stands alone, rifle at the ready, facing the T-888 endo in the corner.

FADE OUT.

**END OF ACT 3**

* * *

><p><strong>ACT 4<strong>

**(Bad memory never die)**

INT. SUB-BASEMENT - ZEIRA CORP – EVENING

The SUV arrives. Ellison has driven it, he screeches to a stop. Jumps out. Ellison quickly runs toward the passenger door.

Auldridge, runs out from the door behind Ellison in hurry.

AULDRIDGE  
>What the hell is going on?<p>

Auldridge reaches at Ellison as he opens the door and carries unconscious Semina out of the car.

AULDRIDGE  
>What happened?<p>

ELLISON  
>Where's the doctor?<p>

AULDRIDGE  
>Weaver's office.<p>

Ellison suddenly takes Semina toward the door, kicks it open and starts running very hurriedly.

Auldridge starts to worry about it. He turns and faces Sarah who runs toward him. She looks hurried, sad, and worried.

AULDRIDGE  
>What happened, Sarah?<p>

SARAH  
>I killed innocent people. Semina was<br>attacked. Just these.

Auldridge is stunned. He composes himself and he knows that Sarah wouldn't kill any innocent people. It's uncommon for him. Sarah at that time, she lows her face as she weeps for those drugged people.

AULDRIDGE  
>What was going on there, Sarah?<p>

She looks up and smiles, trying to forget about those people.

SARAH  
>Thank you for worrying about me.<br>It will be okay. It's gonna be okay.

Another car drives into the sub basement and parks nearby the SUV. Murch hurriedly jumps out from his car and runs toward Sarah and Auldridge.

MURCH  
>Where's Semina?<p>

AULDRIDGE  
>Weaver's office.<p>

With out anymore words, Murch suddenly runs toward the door, kicks it open hurriedly and enters.

INT. WEAVER'S OFFICE – EVENING

The office is the complete repaired office of Catherine Weaver. Like before, the windows are still severely tinted, all but opaque to the outside world.

Some room still dividers separate the former office into a bedroom, a secured area with a computer, a built-in vault/armory, and a simple kitchen. Next to the front door is a reinforced wall for a "Host Area" with some easily reached small arms.

IN THE BEDROOM.

Savannah is sleeping on a bed in the bedroom. And Dr. Felicia Burnett M.D. covers Savannah with a blanket. She kisses on her forehead and exits the bedroom.

IN THE MAIN OFFICE

Felicia heads toward the desk and in just a second later,...

The intercom voices:

ELLISON (COMM)  
>Doctor, it's me, Ellison. You have a patient.<p>

Felicia turns and she is agape.

INT. WEAVER'S OFFICE – LATER

Felicia just finished the checking on Semina who still lies unconscious on the table. Murch enters the room hurriedly and goes toward Semina. Felicia and Ellison both look sad. That worries Murch so much.

MURCH  
>What happened? What happened to her?<p>

Felicia puts her stethoscope off and turns to face Murch. Felicia talks to him calmly.

BURNETT  
>It's really hard to say, Murch.<p>

Murch turns and looks in her eyes.

MURCH  
>Please tell me what happened.<p>

ELLISON  
>Matt, she tried hard.<p>

Murch turns to Ellison, he impatiently pounds onto the table.

MURCH  
>Will you tell me what happened?<p>

BURNETT  
>Mr. Murch, I know it's hard to restraint<br>your mind but we tried hard. I tried hard.  
>I'm sorry. She miscarried.<p>

Murch drops to his knees like all his strengths disappear from his body and soul. He is stunned and his tears come out.

CLOSE ON MURCH who tears. Ellison walks toward him and touches one of his hands on him.

ELLISON  
>I'm sorry.<p>

Murch looks up. He shakes his head and stands up before he runs out of the office.

Ellison and Felicia look after him with worry.

BURNETT  
>He'll be okay.<p>

ELLISON  
>I think so.<p>

Ellison turns to look at Semina. Felicia then does the same.

ELLISON  
>What about her?<p>

BURNETT  
>I gave her a little sleeping pill. She'll wake<br>up in a few hours later. Now I gotta clear her  
>womb. So you should get out of here.<p>

ELLISON  
>Okay.<p>

Ellison walks off.

Felicia looks after him and then looks back at Semina and exhales.

FADE TO:

INT. LONG CORRIDOR – EVENING

Very pregnant Allison and Emma Akagi walk together in the long corridor. Lampage Moore and his aids - COLONEL WANG PICHAO (T-Wang) and COLONEL NGUYEN TUAN (T-Nguyen) walk robotically after them as their loyal followers.

ALLISON  
>Today is very fun. It's like you said<br>The Sims 3 Showtime was so fun. I think  
>we'll play this game together again.<p>

EMMA  
>It was fun but not when you changed my<br>dog to be like a freaking monster.

They giggle as they still walk.

ALLISON  
>And my sim turns your sim to be a vampire.<p>

EMMA  
>Yes. But vampire is very fast when he or she<br>runs, the effect is very interesting. I like  
>when humans designed those 3d effects.<p>

ALLISON  
>That's my fun too. I like vampires, they can read<br>mind. However, I think we should play it again.

EMMA  
>I swear we shall play it again.<p>

ALLISON  
>Okay.<p>

They stop in front of the door.

EMMA  
>Let's get inside.<p>

Allison smiles to Emma so friendly. She is very happy this time. Emma smiles back and glances at her as she tries to search her key inside her pocket.

ALLISON  
>Ahhh! Where is it?<p>

EMMA  
>Didn't you forget it in my room?<p>

ALLISON  
>I think I didn't. Damn! Where is it?<p>

She finds her key.

ALLISON  
>Yeh! I find it.<p>

Allison picks the key up and...

SLOW MOTION as the key falls from her hand, it falls over the floor and Allison doesn't bend down to pick it up again, she holds her belly.

ALLISON  
>Ow!<p>

Emma looks at her, all she does is human-like. She says her name in a slow motion just before the movie becomes normal.

Emma quickly supports Allison who is painful. She is gonna give birth to her son.

Emma suddenly turns and commands.

EMMA  
>Wang, Nguyen, go, tell Boykins we are at<br>the infirmary. Moore, you help me.

T-Wang and T-Nguyen accept and quickly run out. Lampage picks the key up and keeps it into his pocket. Then Lampage and Emma both support Allison carefully.

INT. INFIRMARY - ALLISON'S BED – EVENING

Allison, with a sheen of perspiration, lies on her side on a bed. The green blanket covers her knees that stand upright. Curtains are drawn all around the large five-meter-square area. Emma sits stiffly at Allison's side, holding her hand.

Allison winces with pain and starts breathing deliberately. She grips Emma's hand tightly.

ON ALLISON as Emma releases her hand then runs to look at cervix under the blanket.

EMMA  
>Again. Allison. Push harder. It's not<br>hard like playing a game.

ALLISON  
>(tiredly)<br>Yes. It's not hard like playing a game.

Allison tries harder, she winces more painfully as she tries to bring forth her son. She breaks and breathes for more oxygen.

OUTSIDE THE CURTAINS.

Col. Hikaru, Col. Kim, Capt. Dawa, A FEW ASIAN SOLDIERS, and TWO WOMANSERVICES stand outside. The MIDWIFE crosses and disappears through the curtains.

Allison screams loud enough for every one here can hear her and be worried about her.

KIM  
>(in Korean)<br>"It's very long time. My wife didn't take  
>too long like this. I'm so worried. It's<br>too long."

Hikaru pays respect to his believed Gods:

HIKARU  
>(in Japanese)<br>"Oh! My Bishamonten, please bless this girl to  
>come through this arduousness and my Jurojin,<br>please give her a longevity."

Hikaru and Kim stand watching the curtains together. They hope that she will be okay.

Allison SCREAMS so loud and will never stop. It's not easy.

At that time, E. Boykins hurriedly runs into the infirmary and meets all his inferiors.

E. BOYKINS  
>How is she?<p>

Inbedga and his aids run into the infirmary then.

HIKARU  
>We just arrived. Our men said it's two<br>hours, sir. The midwife just got in but...

E. BOYKINS  
>Allison...<p>

E. Boykins quickly runs into the curtains.

INSIDE THE CURTAINS.

E. Boykins gets in as the midwife says:

MIDWIFE  
>Try harder.<p>

E. BOYKINS  
>What's wrong?<p>

MIDWIFE  
>Sir, her cervix has opened but<br>it'll take a lot of time.

E. BOYKINS  
>If it's too long, they'll be dead.<br>You get out. I and Emma will continue.

Allison winces more painfully as she tries to bring forth her son. She breaks and breathes for more oxygen. She then looks at her husband with fear.

E. Boykins quickly steps toward her and holds her hand for Emma who releases it and goes to replace the midwife.

EMMA  
>I'll do it.<p>

The midwife gets out.

E. Boykins holds her hands firmly by both of his hands.

E. BOYKINS  
>It'll be okay. I'm here, Allison. Please don't<br>worry, Alise, your agony will soon be over.  
>I'll use my telekinesis abilities to help you.<p>

ALLISON  
>(panicky, weakly)<br>I feel as if I'm gonna die, Stefan.  
>Why is he still in me? I'm dying.<p>

Allison starts crying with fear. He grabs her face to look at him. He shakes his head.

E. BOYKINS  
>Listen to me. You won't die. You have to try<br>to push him out again. Or you will let him die?

E. Boykins wipes her tears and kisses on her forehead.

E. BOYKINS  
>Again please.<p>

ALLISON  
>(nods)<br>Again. Stefan. Okay. Again.

E. Boykins holds her hand by one hand, another hand softly touches on her belly. His eyes stare hard at her belly. Allison inhales and starts it again. She winces more painfully as she tries to pushes him out.

Emma, tries to pull the baby out of her.

EMMA  
>Push harder! I see his head.<p>

E. Boykins turns to Allison and smiles.

She smiles back, inhales hard. She cries out in pain, she screams as she tries once again to push.

EMMA  
>Good! Good! Once more.<p>

E. BOYKINS  
>Push harder.<p>

Allison cries out of pain, this time is loudest. She screams and then she pinches his hand hard and screams once more.

Emma smiles.

EMMA  
>Okay, good job.<p>

Allison looks at Emma.

ALLISON  
>(sobbing)<br>How is my son?

EMMA  
>He's fine. He doesn't die.<p>

ALLISON  
>(weakly)<br>That's okay.

Allison is so weak. She loses unconscious. E. Boykins turns to look at her and exhales with relaxation. She is just prostrated. He kisses on her forehead just as we slowly dissolve to:

INT. INFIRMARY – ALLISON'S BED – NIGHT

Allison sleeps on the bed. Emma and E. Boykins stand to the side but turn their face out from her. He's holding the sleeping BABY on his arms.

EMMA  
>I understand now why humans describe<br>it as a miracle. Why they say that there  
>is no greater love than that of a mother<br>for her children.

E. BOYKINS  
>Yes. Apparently is has to do with growing<br>a life internally. Since males cannot, it  
>implies that all fathers are adoptive.<p>

EMMA  
>As a result, fathers are not afforded the<br>degree of a love bond as mothers are.

E. BOYKINS  
>Yes. It's really true. And we can say that<br>females are always stronger than males.

EMMA  
>About ones who have changed of sex?<p>

ON ALLISON, she slowly opens her eyes, looks around to find her beloved baby.

E. BOYKINS  
>Those people are betraying themselves.<br>They are betraying the nature.

ALLISON  
>Where's my son?<p>

Emma walks off. As E. Boykins quickly turns and gives the baby to Allison to hold:

E. BOYKINS  
>This is your son.<p>

Allison holds her son on her arms, looking at him and forgets about E. Boykins. She smiles so proudly as she cries.

ALLISON  
>(crying)<br>He's very good-looking.

E. Boykins sits down beside her and she looks up at him and smiles so warmly. He wipes her tears and kisses on her forehead.

E. BOYKINS  
>You are a good fighter, Allison.<p>

ALLISON  
>Not like you.<p>

E. BOYKINS  
>No. You are better one. No male can do<br>this like you. I'm so proud of you.

ALLISON  
>Have you chosen a name yet?<p>

E. BOYKINS  
>It's all up to you.<p>

Allison smiles happily.

ALLISON  
>Thank you. Okay. I remembered that your<br>old friend died protecting you and me  
>during the battle of Palmdale in 2025.<br>He was killed by a T-700.

E. BOYKINS  
>You mean about Sittipong, right?<p>

ALLISON  
>Yes. That should be his real name. And his<br>nickname should be Sam. One of my friends who  
>died during that battle too. Sam is like my<br>brother, like Derek and Kyle. Is it okay?

E. BOYKINS  
>Sam is easy to be called and I'm always<br>okay with you.

Allison puts the baby down on another side of her bed.

ALLISON  
>What about Russia?<p>

E. BOYKINS  
>Next month. We'll go next month.<p>

CLOSE ON SITTIPONG as he opens his eyes and starts crying for his mom and his dad.

E. Boykins and Allison smile to each other.

E. BOYKINS  
>He's hungry. Foremilk has a higher lactose<br>content and less fat than the hindmilk.  
>You should give him it.<p>

ALLISON  
>He's lucky.<p>

Allison carries her son up to hold.

We zoom out as she's preparing for feeding.

MURCH (V.O.)  
>Human soul is like a computer system.<p>

DISSOLVE TO:

SERIES OF SCENES (DISSOLVES, WITH MURCH'S VO.):

1. EXT. JUNKYARD – 2012 A.D. - NIGHT

This is a junkyard somewhere out of Los Angeles. There is a hut beside and we see Richard Ellison is heading toward it.

MURCH (V.O.) (cont'd)  
>John Parkinson said this. Old data never die.<br>Failed or truly end-of-life drives should be  
>recycled rather than turned into landfill scrap.<p>

2. INT. HUT – 2012 A.D. - MORNING

This is a small wooden hut and we see the nun EMMA AKAGI sitting peacefully on a mat and her closed eyes open like an enlightened person. But you know she isn't.

MURCH (V.O.) (cont'd)  
>But, if they're going to leave your control<br>with your data still on them,...

3. EXT. SMALL PARK – BANGKOK – 2012 A.D. - MORNING

The same park in the city of Bangkok we saw in the teaser. Eight-years-old Stefan is sitting on a bench and talking something that we didn't hear, with the engineer E. Boykins. They look chummy.

MURCH (V.O.) (cont'd)  
>...you'd better be sure that you're working<br>with someone who will safeguard your discarded  
>information in the process.<p>

4. INT. EMMA LAB – 2028 A.D. - NIGHT

Emma is playing The Sims 3 Showtime, alone in her own lab.

MURCH (V.O.) (cont'd)  
>What do you do with data stored on disks<br>that have passed their useful life and need  
>to be replaced and recycled? It's very good<br>question.

5. INT. ALLISON'S ROOM – 2028 A.D. - NIGHT

Allison is feeding Sittipong happily on her bed. E. Boykins stands watching and smiling at her from backward.

MURCH (V.O.) (cont'd)  
>Your memory is like data that you can't<br>forget it at all even it's good...

6. INT. BEDROOM – 2012 A.D. - NIGHT

Murch just told something to Semina that we didn't hear but she cries then and he pulls her into his hug.

MURCH (V.O.) (cont'd)  
>...or bad. Even you want to forget it so much<br>but it still buries in your brain every time,  
>every moment and will bury in your brain forever.<p>

7. INT. ELLISON'S OFFICE – 2012 A.D. - NIGHT

The office is dark, illuminated only by a small table lamp off to the side. A bible is on the table Ellison sits on his seat. He's looking at a picture that he has held by his left hand. He tears.

MURCH (V.O.) (cont'd)  
>It will never die.<p>

ELLISON'S POV.: The picture was taken by an unknown photographer in Ellison's spousal. He stands with Lila Ellison that time. His finger enters frame and touches the picture.

MURCH (V.O.) (cont'd)  
>It will never lose.<p>

FADE TO:

INT. NEW SKYNET LAB – NIGHT

The room is a 3-d interconnected computer with cubes attached to cubes attached to cubes, like a giant molecule. It's like the old Skynet lab but the technologies seem to have been upgraded and the room is very large(larger than the old one). There are a table and a chair at the center of the room. Sitting on the chair, is a unknown model cyborg(or maybe it's MPA terminator) that looks just like Miles Dyson. We suddenly know that this terminator is an avatar of SKYNET V.2. It seems that they don't keep the CPU here.

AT THE DOOR. It automatically opens and Richard Ellison and Jack Van Meter enter. Four JACK'S CLONES walk in after them. Richard Ellison has no cut and no wound. The four CLONES stand guarding the door as real Jack and Richard walk toward and face Skynet V.2's avatar. However, Skynet still uses Miles' voice to be its main techno voice.

SKYNET  
>(smiles)<br>Good evening, Mr. Van Meter, Mr. Ellison.

VAN METER  
>Good evening, my best friend.<p>

RICHARD  
>Did you do what I asked for?<p>

Skynet nods then he turns to look at its main monitor. The monitor is automatically turned on. It shows the name of person we know who she is. The name is ALLISON YOUNG.

SKYNET  
>Richard, you go and kill her. I don't know<br>who is real Allison Young I need to kill.

RICHARD  
>Why don't you really know who you need to kill?<p>

Jack turns to face Richard.

VAN METER  
>Because we hunt just the people Ginnon and<br>Carter told us to do. They didn't give us  
>any pictures.<p>

Richard exhales hard.

RICHARD  
>Okay. I'll go and find the name and kill her.<p>

SKYNET  
>Two places Ginnon told me for this name are<br>Bangkok and Palmdale. You should start at  
>Palmdale, Los Angeles.<p>

Richard turns to leave but Jack calls him.

VAN METER  
>Did it work? I mean your adamantium endoskeleton.<p>

SKYNET  
>It should work, Mr. Van Meter.<p>

RICHARD  
>It's like he said.<p>

Richard then walks toward the door before it automatically opens to let him go. Jack turns back to face Skynet.

SKYNET  
>It's unfortunate. If that Weaver didn't destroy<br>our Desert Canyon Heat And Air, we wouldn't lose  
>most of our coltan and adamantium.<p>

VAN METER  
>What will be the first set of...?<p>

SKYNET  
>I'm going to use my T-500s attack the survivors<br>before T-600s then T-800s and the triple eights.

VAN METER  
>Okay. Because...<p>

VAN METER/SKYNET  
>We're going to change the world<br>and kiss all those humans goodbye.

Their eyes GLOW RED.

FADE OUT.

**END OF ACT 4**

**THE END**


End file.
